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[ [ "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Letit._ Nothing to complain of! Heav'ns! shall I marry the man I adore,\nwith such an expectation as that?", "_Har._ Zounds! what do you mean by that? I tell you that the Lady you\nadmire, is Letitia Hardy.", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Let._ Married in jest! 'Tis an odd idea! Well, I'll venture it.\n[_Exit_ Letitia _and Mrs._ Racket.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Mrs. Rack._ He's a charming Fellow!--I think Letitia sha'n't have him.\n(_Going._)\n\n _Enter_ Hardy.", "_Letit._ Surely, Sir, 'tis a very serious occasion.\n\n_Hardy._ Pho, pho! girls should never be grave before marriage. How did\nyou feel, Cousin, beforehand? Aye!", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Vill._ Then I leave you to your communications.\n\n _Enter_ Letitia, _followed by her Maid_.", "_Let._ Hold your tongue!--Sure I may say what I please before I am\nmarried, if I can't afterwards.--D'ye think a body does not know how to\ntalk to a Sweetheart. He is not the first I have had.", "_Har._ It cannot be----I foresee it will be impossible to bring it\nabout. You know the wedding wasn't to take place this week or more--and\nLetty will never be able to play the Fool so long.", "[_As he stands in a musing posture_, Letitia _enters, and\n sings_.]\n\n\nSONG.", "_Letit._ (_pausing._) Yet I have one hope. If there is any power whose\npeculiar care is faithful love, that power I invoke to aid me.\n\n _Enter Mr._ Hardy.", "_Let._ To-morrow you shall be satisfied.\n\n_Dor._ To-morrow! and not to-night?\n\n_Let._ No.", "_Hardy._ Well, 'tis an odd thing--I can't understand it--but I foresee\nLetty will have her way, and so I sha'n't give myself the trouble to\ndispute it. [_Exit_ Hardy.", "_Let._ Married! Impossible! 'Tis but a few hours since he swore to me\neternal Love: I believ'd him, gave him up my Virgin heart--and\nnow!--Ungrateful Sex!", "_Let._ I--a Companion! Ridiculous pretence! No, Sir, know, to your\nconfusion, that my heart, my honour, my name is unspotted as her's you" ], [ "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "SCENE III.----_Sir_ George Touchwood'_s_.\n\n_Enter Sir_ George, _and Lady_ Frances.", "END OF THE FIRST ACT.\n\n\n\n\nACT II.\n\n\nSCENE I. _Sir George Touchwood_'s.", "SCENE IV.----_Sir_ George Touchwood_'s._\n\n_Enter_ Sir George _and_ Villers.", "_Miss Ogle._ 'Tis Lady Frances Touchwood, Mr. Courtall, to whom you are\nspeaking.", "Touchwood.--Who is the most gallant Man? Sir George Touchwood.--Who is\nthe most wedded to Amusement and Dissipation? Sir George Touchwood.--And", "_Dick._ Why then, Sir, I am going to call upon a Cousin of mine, that\nlives at Sir George Touchwood's.", "_Court._ Lady _Touchwood_! with a vengeance! But, 'tis always so;--your\nreserved Ladies are like ice, 'egad!--no sooner begin to soften, than\nthey melt. [_Following._", "_Court._ I should hate my own wife, that's certain; but I have a warm\nheart for those of other people; and so here's to the prettiest Wife in\nEngland--Lady Frances Touchwood.", "_Sav._ Such a woman as Lady Frances Touchwood, Sir.\n\n_Court._ Oh, you are grave, Sir; I remember you was an Adorer of\nher's--Why didn't you marry her?", "Mrs. _Rack._ Thank ye, Flutter--I'll owe ye a _bouquet_ for that. I am\ngoing to visit the new-married Lady Frances Touchwood.--Who knows her\nhusband?", "_Enter_ Dick.\n\nDick, do you know any of the servants at Sir George Touchwood's?", "Ogles, and then to Lady Frances Touchwood's, and then to an Auction,\nand then--I don't know where----but I shall be at home time enough to", "_Mrs. Rack._ Give you joy, Sir George.--We came to rob you of Lady\nFrances for a few hours.\n\n_Sir Geo._ A few hours!", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Doric._ Pho! never moralise without spectacles. But, as we are upon the\ntender subject, how did you bear Touchwood's carrying Lady Frances?", "_Sir Geo._ I am astonished!--Mrs. Racket, what does the dear creature\nmean?\n\n_Mrs. Rack._ Mean, Sir George!--what she says, I imagine.", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "_Sav._ Lady Frances Touchwood! I rise to drink her. (_drinks_) How the\ndevil came Lady Frances in your head? I never knew you give a Woman of\nChastity before.", "_Sir Geo._ No; heaven forbid she should!--If she had, Madam, she would\nnever have been my Wife!\n\n_Mrs. Rack._ Are you serious?" ], [ "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt.", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Sir Geo._ What! am I the Town-talk? [_Aside_]\n\n_Har._ I can neither see Doricourt nor Letty.--I must find them out.\n[_Exit_ Hardy.", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Lady Fran._ Not at all; for I never slept a moment. My escape, and the\nimportance of my obligations to you, employed my thoughts. But we have\njust had shocking intelligence--Is it true that Doricourt is mad?", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?", "Doricourt; he be too happy _à vous voir_. [_Exeunt_ Frenchman _and_\nSaville.", "_Doric._ If she has, she was pleased to keep it to herself. I was in\nthe room half an hour before I could catch the colour of her eyes; and", "_Dor._ Oh! (_Starting_).\n\n_Let._ I told you last night, you shou'd see me at a time when you least\nexpected me--and I have kept my promise.", "_Vill._ Whoever you are, Madam, you could not have arrived at a happier\nmoment.--Mr. Doricourt is just married.", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "SCENE II.----_Doricourt_'s.\n\nDoricourt _in his Robe-de-Chambre_.\n\n_Enter_ Saville." ], [ "nothing;--for Doricourt saw them unmov'd.--A husband of fifteen months\ncould not have examined me with more cutting indifference.", "Doricourt; he be too happy _à vous voir_. [_Exeunt_ Frenchman _and_\nSaville.", "SCENE II.----_Doricourt_'s.\n\nDoricourt _in his Robe-de-Chambre_.\n\n_Enter_ Saville.", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt.", "_Mrs. Rack._ Mr. Doricourt is not prepared, my dear, for these\nenquiries; he is reflecting on the importance of the question, and will\nanswer you----when he can.", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Doric._ You are unjust. Though she has not inspir'd me with violent\npassion, my honour secures her felicity.", "_Vill._ Whoever you are, Madam, you could not have arrived at a happier\nmoment.--Mr. Doricourt is just married.", "_Sav._ No, no; Doricourt.\n\n_Flut._ Egad, I'll say you are both mad, and then I can't mistake.\n[_Exeunt severally._", "_Flut._ So it appeared to me.--But, thought I, Mr. Doricourt has\ntravelled--he knows best.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Ergo_, she is handsome, spirited, and clever. [Doricourt _walks about\ndisordered_.] In the name of Caprice, what ails you?", "_Doric._ Oh, Lord, that shall be no excuse in the world (_leaping\nfrom the sopha_). Lead the way, John.--I'll attend your Lady. [_Exit,\nfollowing the Servant._", "_Sav._ Flutter--Don't make a mistake, now;--remember 'tis Doricourt\nthat's mad. [_Exit._\n\n_Flut._ Yes--you mad.", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?", "_Mrs. Rack._ Make haste, said Doricourt; if I have time to reflect, poor\nHardy will die unhappy.", "SCENE II.--_A Hall at_ Doricourt'_s_. (_A gentle knock at the door._)\n\n_Enter the Porter._", "_Doric._ (_speaking to a servant behind_) I shall be too late for St.\nJames's; bid him come immediately.\n\n _Enter_ Frenchman _and_ Saville." ], [ "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Har._ Zounds! what do you mean by that? I tell you that the Lady you\nadmire, is Letitia Hardy.", "_Letit._ Nothing to complain of! Heav'ns! shall I marry the man I adore,\nwith such an expectation as that?", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "_Letit._ (_pausing._) Yet I have one hope. If there is any power whose\npeculiar care is faithful love, that power I invoke to aid me.\n\n _Enter Mr._ Hardy.", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "[_As he stands in a musing posture_, Letitia _enters, and\n sings_.]\n\n\nSONG.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Enter_ Letitia _and Mrs._ Racket.\n\n\n_Mrs._ Racket.\n\nCome, prepare, prepare; your Lover is coming.", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Letit._ Because 'tis much easier to convert a sentiment into its\nopposite, than to transform indifference into tender passion.", "_Letit._ If I comprehend him, aukwardness and bashfulness are the last\nfaults he can pardon in a woman; so expect to see me transform'd into\nthe veriest maukin.", "_Vill._ Then I leave you to your communications.\n\n _Enter_ Letitia, _followed by her Maid_.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "here he comes.--I'll disappear for a moment.--Don't spare me.\n[_Exit_ Letitia.", "_Hardy._ I tell you, Letty, I'll have no more of this.----I see well\nenough----", "_Let._ Hold your tongue!--Sure I may say what I please before I am\nmarried, if I can't afterwards.--D'ye think a body does not know how to\ntalk to a Sweetheart. He is not the first I have had.", "_Mrs. Rack._ Why really I think so, as I was not by.\n\n_Letit._ My dear Sir, I am convinced he has not; but if there is spirit\nor invention in woman, he shall." ], [ "_Har._ There's no depending on what _you_ see--the eyes of the jealous\nare not to be trusted.--Look to your Lady.\n\n_Flut._ He knows ye, Sir George.", "_Sir Geo._ I have a Sister, Saville, who is amiable; and you are worthy\nof her. I shail give her a commission to steal your heart, out of\nrevenge for what you have done.", "_Sav._ You know I never look'd up to her with hope, and Sir George is\nevery way worthy of her.\n\n_Doric._ _A la mode Angloise_, a philosopher even in love.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "can. As you observe, I am but young, and may have caught absurd\nopinions.--Here is Sir George!", "_Sir Geo._ 'Tis well, Madam;--your resentment of that circumstance\nproves to me, what I did not before suspect, that you are deficient both", "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "now Sir George is metamorphosed into a sour Censor; and talks of\nFashionable Life with as much bitterness, as the old crabbed Fellow in\nRome.", "_Sir Geo._ I was going to follow her, and now I dare not. How can I be\nsuch a fool as to be govern'd by the _fear_ of that ridicule which I\ndespise! [_Exit Sir_ George.", "find a recompence for the lost affection of a doating Husband.\n[_Exit_ Sir George.", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "SCENE IV.----_Sir_ George Touchwood_'s._\n\n_Enter_ Sir George _and_ Villers.", "_Lady Fran._ I kill a Bird through jealousy!--Heavens! Mr. Flutter, how\ncan you impute such a cruelty to me?\n\n_Sir Geo._ I could have forgiven you, if you had.", "_Enter Sir_ George, _and Lady_ Frances.\n\n_Sir Geo._ Well, here we are.--But where's the Knight of the Woeful\nCountenance?", "_Sir Geo._ 'Tis I that am afflicted;--my dream of happiness is\nover.--Lady Frances and I are disunited.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "_Sir Geo._ Was there ever such a provoking wretch! But, to be plain with\nyou, Doricourt, I and my house are at your service: but you are a damn'd", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!" ], [ "_Lady Fran._ Thank Heaven! he's gone!--But I have a story for you--The\nHardy family are forming a plot upon your Friend Doricourt, and we are\nexpected in the evening to assist.", "so you have found me out!--Well, I protest I meant no harm; 'twas only\nto increase the _éclat_ of her appearance, that I threw a veil over her", "_Mrs. Rack._ Oh! Heav'ns! do you know----\n\n_Flut._ Let me tell the story----As soon as Doricourt--", "_Mrs. Rack._ Stop his mouth, Sir George--he'll spoil the tale.\n\n_Sir Geo._ Never heed circumstances--the result--the result.", "_Lady Fran. Shall_ not, Sir George?--This is the first time such an\nexpression--(_weeping_)\n\n_Sir Geo._ My love! my life!", "_Mrs. Rack._ No, Sir--no. It was Miss Hardy who captivated him. She met\nhim last night at the Masquerade, and charmed him in disguise--He", "professed the most violent passion for her; and a plan was laid, this\nevening, to cheat him into happiness.", "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "_Dor._ What can this mean? Reveal your face, I conjure you.\n\n_Let._ Behold it.\n\n_Dor._ Rapture! Transport! Heaven!", "_Crowq._ Oh, Sir, that was for a Lord's amours; a Commoner's are never\nbut half. Why, I have had a Baronet's for five shillings, though he was", "fashion than it is; and it is already so much so, that my doors are of\nno use to me. I married Lady Frances to engross her to myself; yet such", "_Court._ I should hate my own wife, that's certain; but I have a warm\nheart for those of other people; and so here's to the prettiest Wife in\nEngland--Lady Frances Touchwood.", "forsooth! the whole Female World is concerned for. I reported the state\nof your brain to five different women--The lip of the first trembled;", "_Mrs. Rack._ Why really I think so, as I was not by.\n\n_Letit._ My dear Sir, I am convinced he has not; but if there is spirit\nor invention in woman, he shall.", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Mrs. Rack._ No, Sir; nothing less than your penetration can do that, I\nam sure; and I can't stay now to consider it. I am going to call on the", "_Lady Fran._ Indeed, Sir George, I was so hurried from place to place,\nthat I had not time to find out what my impressions were.\n\n_Sir Geo._ That's the very spirit of the life you have chosen.", "_Port._ Step below a bit;--we'll make it out some-how!--I suppose a\nslice of sirloin won't make the story go down the worse. [_Exeunt_\nPorter _and_ Crowquill.", "girl to personate her, whose reputation cannot be hurt.--You shall know\nthe result to-morrow. Adieu. [_Exit_ Saville.", "and all mankind;--her sentiments are for their hours of retirement. In a\nword, a Fine Lady is the life of conversation, the spirit of society," ], [ "_Vill._ There again! You forget this story is told by Flutter, who\nalways remembers every thing but the circumstances and the person he", "_Mrs. Rack._ Oh, there can be no doubt of it. Flutter told us the whole\nhistory. Some Italian Princess gave him a drug, in a box of sweetmeats,", "_Lady Fran._ Thank Heaven! he's gone!--But I have a story for you--The\nHardy family are forming a plot upon your Friend Doricourt, and we are\nexpected in the evening to assist.", "_FINIS._\n\n\n\n\nEPILOGUE.", "_Lady Fran._ Yes; within these twenty minutes.\n\n_Mrs. Rack._ Aye, 'tis of no consequence.----'Tis all over--Doricourt is\nmad.", "_Mrs. Rack._ Stop his mouth, Sir George--he'll spoil the tale.\n\n_Sir Geo._ Never heed circumstances--the result--the result.", "_Mrs. Rack._ Oh! Heav'ns! do you know----\n\n_Flut._ Let me tell the story----As soon as Doricourt--", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "'squired them to the gardens here, as the most private place in town;\nand then took a sorrowful leave, complaining of my hard, hard fortune,", "_Court._ Oh, pleaded a million engagements.----However, conscience\ntwitched me; so I breakfasted with them this morning, and afterwards", "_Court._ After waiting thirty minutes, during which there was a violent\nbustle, in bounced five fallow damsels, four of them maypoles;--the", "_Court._ Perhaps they have;--but I came on a different errand; and, had\nthy good fortune brought thee here half an hour sooner, I'd have given\nthee such a treat, ha! ha! ha!", "_Sir Geo._ I learnt it in the first Coffee-house I entered.--Every body\nis full of the story.", "_Court._ No, no;--there's no time for forms. I'll just give directions\nto the carriage, and be with you in a moment. (_Going, steps back._) Put", "_Har._ Now's the time, I see, to clear up the whole. Mr. Doricourt!--I\nsay--Flutter was mistaken; I know who you are in love with.", "_Flut._ Egad, I believe you are right.--Well, the story is as good one\nway as t'other, you know. Good morning. I am going to Mrs. Crotchet's", "_Silv._ Very well,--very well.--This morning will be devoted to\ncuriosity; my sale begins to-morrow at eleven. But, Mrs. Fagg, if you", "Heaven's sake take her home again, or some Enchanter on a flying Dragon\nwill descend and carry her off.--Oh, said another, I dare say Lady", "professed the most violent passion for her; and a plan was laid, this\nevening, to cheat him into happiness.", "_Sav._ Where can this fellow be!--Come, give me some news--I have been\nat war with woodcocks and partridges these two months, and am a stranger\nto all that has passed out of their region." ], [ "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Vill._ Then I leave you to your communications.\n\n _Enter_ Letitia, _followed by her Maid_.", "_Letit._ It is not my toilette that can serve me: but a plan has struck\nme, if you will not oppose it, which flatters me with brilliant success.", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "_Har._ Zounds! what do you mean by that? I tell you that the Lady you\nadmire, is Letitia Hardy.", "[_As he stands in a musing posture_, Letitia _enters, and\n sings_.]\n\n\nSONG.", "_Har._ It cannot be----I foresee it will be impossible to bring it\nabout. You know the wedding wasn't to take place this week or more--and\nLetty will never be able to play the Fool so long.", "here he comes.--I'll disappear for a moment.--Don't spare me.\n[_Exit_ Letitia.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Enter_ Letitia, _running_.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Let._ Married in jest! 'Tis an odd idea! Well, I'll venture it.\n[_Exit_ Letitia _and Mrs._ Racket.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "professed the most violent passion for her; and a plan was laid, this\nevening, to cheat him into happiness.", "_Mrs. Rack._ Why really I think so, as I was not by.\n\n_Letit._ My dear Sir, I am convinced he has not; but if there is spirit\nor invention in woman, he shall.", "_Letit._ If I comprehend him, aukwardness and bashfulness are the last\nfaults he can pardon in a woman; so expect to see me transform'd into\nthe veriest maukin.", "_Letit._ Nothing to complain of! Heav'ns! shall I marry the man I adore,\nwith such an expectation as that?", "_Enter_ Letitia _and Mrs._ Racket.\n\n\n_Mrs._ Racket.\n\nCome, prepare, prepare; your Lover is coming.", "_Mrs. Rack._ If her Fate does not deceive her. You are apprised of the\nscheme, and we hope it will succeed." ], [ "_Har._ Zounds! what do you mean by that? I tell you that the Lady you\nadmire, is Letitia Hardy.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Letit._ (_pausing._) Yet I have one hope. If there is any power whose\npeculiar care is faithful love, that power I invoke to aid me.\n\n _Enter Mr._ Hardy.", "_Hardy._ I tell you, Letty, I'll have no more of this.----I see well\nenough----", "_Letit._ Surely, Sir, 'tis a very serious occasion.\n\n_Hardy._ Pho, pho! girls should never be grave before marriage. How did\nyou feel, Cousin, beforehand? Aye!", "_Hardy._ Well, 'tis an odd thing--I can't understand it--but I foresee\nLetty will have her way, and so I sha'n't give myself the trouble to\ndispute it. [_Exit_ Hardy.", "_Hardy._ Then what's all this melancholy about? A'n't you going to be\nmarried? and, what's more, to a sensible man? and, what's more to a", "_Letit._ Nothing to complain of! Heav'ns! shall I marry the man I adore,\nwith such an expectation as that?", "_Hardy._ Who the devil could have foreseen that?\n\n_Mrs. Rack._ Heaven and earth! Letitia, are you serious?", "_Hardy._ Well, now; wasn't I right? Aye, Letty! Aye, Cousin Racket!", "_Sav._ I never saw her; but 'tis Miss Hardy, the rich heiress--the match\nwas made by the parents, and the courtship begun on their nurses knees;", "_Enter Mrs._ Racket, _and Miss_ Ogle.\n\n_Miss Ogle._ And so Miss Hardy is actually to be married to-night?", "_Sav._ 'Tis rather a delicate subject--but he did not love Miss Hardy.\n\n_Mrs. Rack._ He did love Miss Hardy, Sir, and would have been the\nhappiest of men.", "_Mrs. Rack._ No, Sir--no. It was Miss Hardy who captivated him. She met\nhim last night at the Masquerade, and charmed him in disguise--He", "_Har._ It cannot be----I foresee it will be impossible to bring it\nabout. You know the wedding wasn't to take place this week or more--and\nLetty will never be able to play the Fool so long.", "_Sav._ Well, but I have news for you:--Poor Hardy is confined to his\nbed; they say he is going out of the world by the first post, and he\nwants to give you his blessing.", "_Let._ Married in jest! 'Tis an odd idea! Well, I'll venture it.\n[_Exit_ Letitia _and Mrs._ Racket.", "avoid marrying Miss Hardy, ha! ha! ha!--I'll carry him the intelligence\ndirectly. (_Going._)", "_Hardy._ Aye, may be so:--but I see into things; exactly as I foresaw,\nto-day he fell desperately in love with the wench, he! he! he!" ], [ "_Silv._ Oh, pardon me, Sir! a lively imagination would convert this\nwaxen City into an endless and interesting amusement. For instance--look", "'squired them to the gardens here, as the most private place in town;\nand then took a sorrowful leave, complaining of my hard, hard fortune,", "carriage, and carry her slaves from one city to another, whose real\nintrinsic beauty would have yielded to half the little _Grisettes_ that\npace your Mall on a Sunday.", "_Vill._ There again! You forget this story is told by Flutter, who\nalways remembers every thing but the circumstances and the person he", "_FINIS._\n\n\n\n\nEPILOGUE.", "town. In her mind, every sentiment gives place to the Lust of Conquest,\nand the vanity of being particular. The feelings of Wife, and Mother,", "_Lady Fran._ Thank Heaven! he's gone!--But I have a story for you--The\nHardy family are forming a plot upon your Friend Doricourt, and we are\nexpected in the evening to assist.", "_Mrs. Rack._ Oh, there can be no doubt of it. Flutter told us the whole\nhistory. Some Italian Princess gave him a drug, in a box of sweetmeats,", "Mrs. _Rack._ Had she not an expecting Lover in town all the time? She\nmeets him this morning at the Lawyer's.--I hope she'll charm him; she's\nthe sweetest girl in the world.", "asleep on a volume of Toland; whilst his Lady is putting on _rouge_ for\nthe Masquerade.--Oh! oh! this can be no English City; our Parsons are", "_Mrs. Rack._ Oh! Heav'ns! do you know----\n\n_Flut._ Let me tell the story----As soon as Doricourt--", "_Silv._ That I have not been able to discover; but call it Rome, Pekin,\nor London, 'tis still a City: you'll find in it the same jarring", "SCENE III.----_The Street._\n\n_Enter_ Saville.", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "_Sir Geo._ I learnt it in the first Coffee-house I entered.--Every body\nis full of the story.", "_Court._ After waiting thirty minutes, during which there was a violent\nbustle, in bounced five fallow damsels, four of them maypoles;--the", "_Court._ Oh, pleaded a million engagements.----However, conscience\ntwitched me; so I breakfasted with them this morning, and afterwards", "_Flut._ Oh, every creature.--A Mask is nothing at all to me.--I can give\nyou the history of half the people here. In the next apartment there's a", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt.", "Pest-house.--My Wife is already infected; she was set upon this morning\nby Maids, Widows, and Bachelors, who carried her off in triumph, in\nspite of my displeasure." ], [ "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Doric._ Yes; since my designs have been so unaccountably discovered, I\nwill avow the whole. I cannot love Miss Hardy--and I will never----", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Doric._ If she has, she was pleased to keep it to herself. I was in\nthe room half an hour before I could catch the colour of her eyes; and", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "_Doric._ Have her! The sentiment I have conceived for the Witch is so\nunaccountable, that, in that line, I cannot bear her idea. Was she a", "_Dor._ Your Virgin heart! No, Lady----my fate, thank Heaven! yet wants\nthat torture. Nothing but the conviction that you was another's, could", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Dor._ My charming Bride! It was a strange perversion of Taste, that led\nme to consider the delicate timidity of your deportment, as the mark of" ], [ "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "_Doric._ Yes; since my designs have been so unaccountably discovered, I\nwill avow the whole. I cannot love Miss Hardy--and I will never----", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Doric._ If she has, she was pleased to keep it to herself. I was in\nthe room half an hour before I could catch the colour of her eyes; and", "_Doric._ Have her! The sentiment I have conceived for the Witch is so\nunaccountable, that, in that line, I cannot bear her idea. Was she a", "_Dor._ Your Virgin heart! No, Lady----my fate, thank Heaven! yet wants\nthat torture. Nothing but the conviction that you was another's, could", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Lady Fran._ Not at all; for I never slept a moment. My escape, and the\nimportance of my obligations to you, employed my thoughts. But we have\njust had shocking intelligence--Is it true that Doricourt is mad?", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?" ], [ "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "professed the most violent passion for her; and a plan was laid, this\nevening, to cheat him into happiness.", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Mrs. Rack._ Why really I think so, as I was not by.\n\n_Letit._ My dear Sir, I am convinced he has not; but if there is spirit\nor invention in woman, he shall.", "_Dor._ Your Virgin heart! No, Lady----my fate, thank Heaven! yet wants\nthat torture. Nothing but the conviction that you was another's, could", "_Let._ Your Mistress will be angry;--but, perhaps, you have no Mistress?\n\n_Dor._ Yes, yes; and a sweet one it is!\n\n_Let._ What! is she old?", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Har._ This is too much. You are now the Husband of my Daughter; and how\ndare you shew all this passion about another Woman?\n\n_Dor._ Alive again!", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Doric._ Yes; since my designs have been so unaccountably discovered, I\nwill avow the whole. I cannot love Miss Hardy--and I will never----", "_Mrs. Rack._ Well, now 'tis over, I confess to you, Mr. Doricourt, I\nthink 'twas a most ridiculous piece of Quixotism, to give up the" ], [ "_Sir Geo._ The moment I became possessed of such a jewel as Lady\nFrances, every thing wore a different complexion: that Society in which", "SCENE III.----_Sir_ George Touchwood'_s_.\n\n_Enter Sir_ George, _and Lady_ Frances.", "_Mrs. Rack._ Give you joy, Sir George.--We came to rob you of Lady\nFrances for a few hours.\n\n_Sir Geo._ A few hours!", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Sir Geo._ Introduce!--oh, aye, to be sure--I believe Lady Frances is\nengaged just now--but another time. How handsome the dog looks to-day!\n_Aside._", "_Lady Fran._ A short one! Sir George talks with regret of the scenes we\nhave left; and as the ceremony of presentation is over, will, I believe,\nsoon return.", "_Sir Geo._ Common--common--(_contemptuously_). No, Sir, Lady Frances\ndespises high life so much from the ideas I have given her, that she'll\nlive in it like a salamander in fire.", "_Sir Geo._ Your having preserved Lady Frances, in so imminent a danger.\nStart not, Saville; to protect Lady Frances, was my right. You have\nwrested from me my dearest privilege.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Lady Fran._ Is it possible! O, Sir George, could I have imagin'd it was\nyou who depriv'd me of a creature I was so fond of?", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Enter Sir_ George, _and Lady_ Frances.\n\n_Sir Geo._ Well, here we are.--But where's the Knight of the Woeful\nCountenance?", "_Lady Fran. Shall_ not, Sir George?--This is the first time such an\nexpression--(_weeping_)\n\n_Sir Geo._ My love! my life!", "_Sir Geo._ I allow the force of your argument. Now for intelligence!\n\n _Enter Mrs._ Racket, _Lady_ Frances, _and_ Flutter.", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Lady Fran._ O my dear Sir George! I rejoice to meet you--an old\nConjuror has been frightening me with his Prophecies.--Where's Mrs.\nRacket?", "_Sav._ I will attend you to Hampshire, with pleasure; but not on the\nplan of retirement. Society has claims on Lady Frances, that forbid it.\n\n_Sir Geo._ Claims, Saville!", "_Lady Fran._ Sir George, you don't know Mr. Saville. [_Exit Lady_\nFrances.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "_Lady Fran._ I am sure 'tis a delightful one. How can you dislike it,\nSir George? You painted Fashionable Life in colours so disgusting, that" ], [ "_Sir Geo._ The moment I became possessed of such a jewel as Lady\nFrances, every thing wore a different complexion: that Society in which", "SCENE III.----_Sir_ George Touchwood'_s_.\n\n_Enter Sir_ George, _and Lady_ Frances.", "_Sir Geo._ Your having preserved Lady Frances, in so imminent a danger.\nStart not, Saville; to protect Lady Frances, was my right. You have\nwrested from me my dearest privilege.", "_Sir Geo._ Common--common--(_contemptuously_). No, Sir, Lady Frances\ndespises high life so much from the ideas I have given her, that she'll\nlive in it like a salamander in fire.", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Sir Geo._ 'Tis I that am afflicted;--my dream of happiness is\nover.--Lady Frances and I are disunited.", "_Lady Fran._ Is it possible! O, Sir George, could I have imagin'd it was\nyou who depriv'd me of a creature I was so fond of?", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "_Vill._ For shame, Sir George! you have left Lady Frances in tears.--How\ncan you afflict her?", "_Mrs. Rack._ Give you joy, Sir George.--We came to rob you of Lady\nFrances for a few hours.\n\n_Sir Geo._ A few hours!", "_Lady Fran. Shall_ not, Sir George?--This is the first time such an\nexpression--(_weeping_)\n\n_Sir Geo._ My love! my life!", "_Lady Fran._ I am sure 'tis a delightful one. How can you dislike it,\nSir George? You painted Fashionable Life in colours so disgusting, that", "_Lady Fran._ A short one! Sir George talks with regret of the scenes we\nhave left; and as the ceremony of presentation is over, will, I believe,\nsoon return.", "_Enter Sir_ George, _and Lady_ Frances.\n\n_Sir Geo._ Well, here we are.--But where's the Knight of the Woeful\nCountenance?", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Sir Geo._ I allow the force of your argument. Now for intelligence!\n\n _Enter Mrs._ Racket, _Lady_ Frances, _and_ Flutter.", "_Enter Lady_ Frances.\n\n_Sir Geo._ The sweet sorrow that glitters in these eyes, I cannot bear\n(_embracing her_). Look chearfully, you Rogue.", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle." ], [ "_Sav._ You know I never look'd up to her with hope, and Sir George is\nevery way worthy of her.\n\n_Doric._ _A la mode Angloise_, a philosopher even in love.", "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "_Sir Geo._ How lively are first impressions on sensible minds! In four\nhours, vapidity and languor will take place of that exquisite sense of\njoy, which flutters your little heart.", "_Sir Geo._ No; heaven forbid she should!--If she had, Madam, she would\nnever have been my Wife!\n\n_Mrs. Rack._ Are you serious?", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "_Sir Geo._ 'Tis well, Madam;--your resentment of that circumstance\nproves to me, what I did not before suspect, that you are deficient both", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Sir Geo._ A being easily described, Madam, as she is seen every where,\nbut in her own house. She sleeps at home, but she lives all over the", "_Sir Geo._ The moment I became possessed of such a jewel as Lady\nFrances, every thing wore a different complexion: that Society in which", "_Sir Geo._ Very true--You have acted according to their dictates, and I\nhope the utmost felicity of the Married State will reward you.", "_Sir Geo._ I am astonished!--Mrs. Racket, what does the dear creature\nmean?\n\n_Mrs. Rack._ Mean, Sir George!--what she says, I imagine.", "_Sir Geo._ I cannot listen to a sentence which begins with so\nunpromising a word. You must go with us into Hampshire; and, if you see", "_Miss Ogle._ Sir George, I see, languishes for the charming society of a\ncentury and a half ago; when a grave 'Squire, and a still graver Dame,", "_Sir Geo._ I have a Sister, Saville, who is amiable; and you are worthy\nof her. I shail give her a commission to steal your heart, out of\nrevenge for what you have done.", "_Sir Geo._ Perfectly so.--I should never have had the courage to have\nmarried a well-bred Fine Lady.", "_Sir Geo._ Pho! 'tis our minds that are disunited: she no longer places\nher whole delight in me; she has yielded herself up to the world!", "_Sir Geo._ But there _are_ Husbands, Sir, who would rather have\ncorrected than amended your comparison; I, for instance, should consider\na man's complimenting my Wife as an impertinence.", "_Sir Geo._ Then, by this time, they must have reached _Amazement_,\nwhich, every body knows, is the end of Matrimony.", "_Sir Geo._ Common--common--(_contemptuously_). No, Sir, Lady Frances\ndespises high life so much from the ideas I have given her, that she'll\nlive in it like a salamander in fire.", "_Sir Geo._ True; but she has a simplicity of heart and manners, that\nwould have become the fair Hebrew damsels toasted by the Patriarchs." ], [ "_Sir Geo._ The moment I became possessed of such a jewel as Lady\nFrances, every thing wore a different complexion: that Society in which", "_Sir Geo._ Common--common--(_contemptuously_). No, Sir, Lady Frances\ndespises high life so much from the ideas I have given her, that she'll\nlive in it like a salamander in fire.", "_Mrs. Rack._ Give you joy, Sir George.--We came to rob you of Lady\nFrances for a few hours.\n\n_Sir Geo._ A few hours!", "_Miss Ogle._ Why, you know, Sir, as Lady Frances had the misfortune to\nbe bred entirely in the Country, she cannot be supposed to be versed in\nFashionable Life.", "_Sir Geo._ Introduce!--oh, aye, to be sure--I believe Lady Frances is\nengaged just now--but another time. How handsome the dog looks to-day!\n_Aside._", "_Sir Geo._ Your having preserved Lady Frances, in so imminent a danger.\nStart not, Saville; to protect Lady Frances, was my right. You have\nwrested from me my dearest privilege.", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Lady Fran._ I am sure 'tis a delightful one. How can you dislike it,\nSir George? You painted Fashionable Life in colours so disgusting, that", "_Sav._ I will attend you to Hampshire, with pleasure; but not on the\nplan of retirement. Society has claims on Lady Frances, that forbid it.\n\n_Sir Geo._ Claims, Saville!", "_Lady Fran._ A short one! Sir George talks with regret of the scenes we\nhave left; and as the ceremony of presentation is over, will, I believe,\nsoon return.", "SCENE III.----_Sir_ George Touchwood'_s_.\n\n_Enter Sir_ George, _and Lady_ Frances.", "_Lady Fran._ Sir George, you don't know Mr. Saville. [_Exit Lady_\nFrances.", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Sir Geo._ I allow the force of your argument. Now for intelligence!\n\n _Enter Mrs._ Racket, _Lady_ Frances, _and_ Flutter.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Enter Sir_ George, _and Lady_ Frances.\n\n_Sir Geo._ Well, here we are.--But where's the Knight of the Woeful\nCountenance?", "_Lady Fran. Shall_ not, Sir George?--This is the first time such an\nexpression--(_weeping_)\n\n_Sir Geo._ My love! my life!", "_Lady Fran._ Is it possible! O, Sir George, could I have imagin'd it was\nyou who depriv'd me of a creature I was so fond of?", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Lady Fran._ Indeed, Sir George, I was so hurried from place to place,\nthat I had not time to find out what my impressions were.\n\n_Sir Geo._ That's the very spirit of the life you have chosen." ], [ "SCENE III.----_Sir_ George Touchwood'_s_.\n\n_Enter Sir_ George, _and Lady_ Frances.", "_Sir Geo._ Your having preserved Lady Frances, in so imminent a danger.\nStart not, Saville; to protect Lady Frances, was my right. You have\nwrested from me my dearest privilege.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Lady Fran._ Sir George, you don't know Mr. Saville. [_Exit Lady_\nFrances.", "_Lady Fran._ Is it possible! O, Sir George, could I have imagin'd it was\nyou who depriv'd me of a creature I was so fond of?", "_Enter Sir_ George, _and Lady_ Frances.\n\n_Sir Geo._ Well, here we are.--But where's the Knight of the Woeful\nCountenance?", "_Sir Geo._ The moment I became possessed of such a jewel as Lady\nFrances, every thing wore a different complexion: that Society in which", "_Lady Fran._ A short one! Sir George talks with regret of the scenes we\nhave left; and as the ceremony of presentation is over, will, I believe,\nsoon return.", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Lady Fran. Shall_ not, Sir George?--This is the first time such an\nexpression--(_weeping_)\n\n_Sir Geo._ My love! my life!", "_Enter Lady_ Frances.\n\n_Sir Geo._ The sweet sorrow that glitters in these eyes, I cannot bear\n(_embracing her_). Look chearfully, you Rogue.", "_Lady Fran._ (_returning_) Sir George?\n\n_Sir Geo._ Will you go without me?", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "_Sir Geo._ Common--common--(_contemptuously_). No, Sir, Lady Frances\ndespises high life so much from the ideas I have given her, that she'll\nlive in it like a salamander in fire.", "_Vill._ For shame, Sir George! you have left Lady Frances in tears.--How\ncan you afflict her?", "_Sir Geo._ Introduce!--oh, aye, to be sure--I believe Lady Frances is\nengaged just now--but another time. How handsome the dog looks to-day!\n_Aside._", "_Sir Geo._ 'Tis I that am afflicted;--my dream of happiness is\nover.--Lady Frances and I are disunited.", "_Sir Geo._ Seek him! Aye.\n\n_Lady Fran._ How did you get his name? I should never have told it you." ], [ "_Har._ Zounds! what do you mean by that? I tell you that the Lady you\nadmire, is Letitia Hardy.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Letit._ (_pausing._) Yet I have one hope. If there is any power whose\npeculiar care is faithful love, that power I invoke to aid me.\n\n _Enter Mr._ Hardy.", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Hardy._ I tell you, Letty, I'll have no more of this.----I see well\nenough----", "_Hardy._ Well, 'tis an odd thing--I can't understand it--but I foresee\nLetty will have her way, and so I sha'n't give myself the trouble to\ndispute it. [_Exit_ Hardy.", "_Letit._ Surely, Sir, 'tis a very serious occasion.\n\n_Hardy._ Pho, pho! girls should never be grave before marriage. How did\nyou feel, Cousin, beforehand? Aye!", "_Hardy._ Who the devil could have foreseen that?\n\n_Mrs. Rack._ Heaven and earth! Letitia, are you serious?", "_Letit._ Nothing to complain of! Heav'ns! shall I marry the man I adore,\nwith such an expectation as that?", "_Sav._ Well, but I have news for you:--Poor Hardy is confined to his\nbed; they say he is going out of the world by the first post, and he\nwants to give you his blessing.", "_Sav._ I never saw her; but 'tis Miss Hardy, the rich heiress--the match\nwas made by the parents, and the courtship begun on their nurses knees;", "_Enter Mrs._ Racket, _and Miss_ Ogle.\n\n_Miss Ogle._ And so Miss Hardy is actually to be married to-night?", "_Mrs. Rack._ Gallantly turn'd! I perceive, however, Miss Hardy's charms\nhave made no violent impression on you.--And who can wonder?--the poor\ngirl's defects are so obvious.", "_Hardy._ Well, now; wasn't I right? Aye, Letty! Aye, Cousin Racket!", "_Mrs. Rack._ No, Sir--no. It was Miss Hardy who captivated him. She met\nhim last night at the Masquerade, and charmed him in disguise--He", "_Sav._ 'Tis rather a delicate subject--but he did not love Miss Hardy.\n\n_Mrs. Rack._ He did love Miss Hardy, Sir, and would have been the\nhappiest of men.", "_Lady Fran._ Thank Heaven! he's gone!--But I have a story for you--The\nHardy family are forming a plot upon your Friend Doricourt, and we are\nexpected in the evening to assist.", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "_Hardy._ Then what's all this melancholy about? A'n't you going to be\nmarried? and, what's more, to a sensible man? and, what's more to a", "_Har._ It cannot be----I foresee it will be impossible to bring it\nabout. You know the wedding wasn't to take place this week or more--and\nLetty will never be able to play the Fool so long." ], [ "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt.", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "SCENE II.----_Doricourt_'s.\n\nDoricourt _in his Robe-de-Chambre_.\n\n_Enter_ Saville.", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Enter_ Doricourt, _and_ Saville.\n\nAh! this is the spot!\n\n_Lady Fran._ How wild and fiery he looks!", "Doricourt; he be too happy _à vous voir_. [_Exeunt_ Frenchman _and_\nSaville.", "_Enter_ Doricourt, _meeting a Mask_.\n\n_Doric._ Ha! my Lord!--I thought you had been engaged at Westminster on\nthis important night.", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "_Doric._ Pho! never moralise without spectacles. But, as we are upon the\ntender subject, how did you bear Touchwood's carrying Lady Frances?", "_Vill._ Whoever you are, Madam, you could not have arrived at a happier\nmoment.--Mr. Doricourt is just married.", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?" ], [ "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?", "_Doric._ Yes; since my designs have been so unaccountably discovered, I\nwill avow the whole. I cannot love Miss Hardy--and I will never----", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Doric._ If she has, she was pleased to keep it to herself. I was in\nthe room half an hour before I could catch the colour of her eyes; and", "_Dor._ Your Virgin heart! No, Lady----my fate, thank Heaven! yet wants\nthat torture. Nothing but the conviction that you was another's, could", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt." ], [ "_Har._ There's no depending on what _you_ see--the eyes of the jealous\nare not to be trusted.--Look to your Lady.\n\n_Flut._ He knows ye, Sir George.", "_Sir Geo._ 'Tis well, Madam;--your resentment of that circumstance\nproves to me, what I did not before suspect, that you are deficient both", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Lady Fran._ I kill a Bird through jealousy!--Heavens! Mr. Flutter, how\ncan you impute such a cruelty to me?\n\n_Sir Geo._ I could have forgiven you, if you had.", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Sir Geo._ I have a Sister, Saville, who is amiable; and you are worthy\nof her. I shail give her a commission to steal your heart, out of\nrevenge for what you have done.", "_Sav._ You know I never look'd up to her with hope, and Sir George is\nevery way worthy of her.\n\n_Doric._ _A la mode Angloise_, a philosopher even in love.", "_Sir Geo._ I was going to follow her, and now I dare not. How can I be\nsuch a fool as to be govern'd by the _fear_ of that ridicule which I\ndespise! [_Exit Sir_ George.", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "find a recompence for the lost affection of a doating Husband.\n[_Exit_ Sir George.", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "_Sav._ Ridiculous!--But, how are you certain that the Woman who has so\nbewildered you, belongs to Lord George?\n\n_Doric._ Flutter told me so.", "now Sir George is metamorphosed into a sour Censor; and talks of\nFashionable Life with as much bitterness, as the old crabbed Fellow in\nRome.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "can. As you observe, I am but young, and may have caught absurd\nopinions.--Here is Sir George!", "_Sir Geo._ 'Tis I that am afflicted;--my dream of happiness is\nover.--Lady Frances and I are disunited.", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Sir Geo._ Pho! 'tis our minds that are disunited: she no longer places\nher whole delight in me; she has yielded herself up to the world!" ], [ "_Miss Ogle._ Sir George, I see, languishes for the charming society of a\ncentury and a half ago; when a grave 'Squire, and a still graver Dame,", "_Mrs. Rack._ Stop his mouth, Sir George--he'll spoil the tale.\n\n_Sir Geo._ Never heed circumstances--the result--the result.", "_Vill._ There again! You forget this story is told by Flutter, who\nalways remembers every thing but the circumstances and the person he", "Heaven's sake take her home again, or some Enchanter on a flying Dragon\nwill descend and carry her off.--Oh, said another, I dare say Lady", "of the refinements of his passion, sent into the wide world to seek its\nfortune.--He took it for a Knight in disguise.", "_Mrs. Rack._ Oh, there can be no doubt of it. Flutter told us the whole\nhistory. Some Italian Princess gave him a drug, in a box of sweetmeats,", "_Doric._ Aye, such a character might have done some good two centuries\nback.----But who the devil can it frighten now? I believe it must be the\nmad scheme, at last.--There, will that do for the grin?", "_Court._ Perhaps they have;--but I came on a different errand; and, had\nthy good fortune brought thee here half an hour sooner, I'd have given\nthee such a treat, ha! ha! ha!", "There! This is he!--this is he who hath sent my poor soul, without coat\nor breeches, to be tossed about in ether like a duck-feather! Villain,\ngive me my soul again!", "_FINIS._\n\n\n\n\nEPILOGUE.", "incidents that happened to his Grandmother, or Great aunts--a couple\nwill do, by way of supporters--I'll weave a web of intrigues, losses,", "'squired them to the gardens here, as the most private place in town;\nand then took a sorrowful leave, complaining of my hard, hard fortune,", "_Lady Fran._ Yes; within these twenty minutes.\n\n_Mrs. Rack._ Aye, 'tis of no consequence.----'Tis all over--Doricourt is\nmad.", "_Vill._ My dear fellow, somebody has imposed upon you most\negregiously!--Half! Why, I never believe one tenth part of what you", "Gentleman whips round upon his heel, and snapt me as short as if I had\nbeen a beggar-woman with six children, and he Overseer of the Parish.", "_Crowq._ Oh, Sir, that was for a Lord's amours; a Commoner's are never\nbut half. Why, I have had a Baronet's for five shillings, though he was", "_Mrs. Rack._ Look at this dumpling Jew; he must be a Levïte by his\nfigure. You have surely practised the flesh-hook a long time, friend, to\nhave raised that goodly presence.", "_Doric._ Oh, the hour of expectation is past. She is arrived, and I this\nmorning had the honour of an interview at Pleadwell's. The writings were", "man set his hand to it whilst he was a dying.--\"Ah!\" said I, \"I foresee\nyou'll never live to see 'em come together; but their first son shall be", "travelled, man! My master has been in Italy, and over the whole island\nof Spain; talked to the Queen of France, and danced with her at a" ], [ "_Vill._ There again! You forget this story is told by Flutter, who\nalways remembers every thing but the circumstances and the person he", "_Silv._ Oh, pardon me, Sir! a lively imagination would convert this\nwaxen City into an endless and interesting amusement. For instance--look", "'squired them to the gardens here, as the most private place in town;\nand then took a sorrowful leave, complaining of my hard, hard fortune,", "_Mrs. Rack._ Stop his mouth, Sir George--he'll spoil the tale.\n\n_Sir Geo._ Never heed circumstances--the result--the result.", "carriage, and carry her slaves from one city to another, whose real\nintrinsic beauty would have yielded to half the little _Grisettes_ that\npace your Mall on a Sunday.", "asleep on a volume of Toland; whilst his Lady is putting on _rouge_ for\nthe Masquerade.--Oh! oh! this can be no English City; our Parsons are", "_Mrs. Rack._ Oh, there can be no doubt of it. Flutter told us the whole\nhistory. Some Italian Princess gave him a drug, in a box of sweetmeats,", "_Silv._ That I have not been able to discover; but call it Rome, Pekin,\nor London, 'tis still a City: you'll find in it the same jarring", "_Sir Geo._ I learnt it in the first Coffee-house I entered.--Every body\nis full of the story.", "_FINIS._\n\n\n\n\nEPILOGUE.", "Married, ha! ha! ha! you, whom I heard in Paris say such things of the\nsex, are in London a married man.", "_Mrs. Rack._ Oh! Heav'ns! do you know----\n\n_Flut._ Let me tell the story----As soon as Doricourt--", "Pest-house.--My Wife is already infected; she was set upon this morning\nby Maids, Widows, and Bachelors, who carried her off in triumph, in\nspite of my displeasure.", "town. In her mind, every sentiment gives place to the Lust of Conquest,\nand the vanity of being particular. The feelings of Wife, and Mother,", "_Lady Fran._ Thank Heaven! he's gone!--But I have a story for you--The\nHardy family are forming a plot upon your Friend Doricourt, and we are\nexpected in the evening to assist.", "_Court._ Perhaps they have;--but I came on a different errand; and, had\nthy good fortune brought thee here half an hour sooner, I'd have given\nthee such a treat, ha! ha! ha!", "Heaven's sake take her home again, or some Enchanter on a flying Dragon\nwill descend and carry her off.--Oh, said another, I dare say Lady", "There! This is he!--this is he who hath sent my poor soul, without coat\nor breeches, to be tossed about in ether like a duck-feather! Villain,\ngive me my soul again!", "of the refinements of his passion, sent into the wide world to seek its\nfortune.--He took it for a Knight in disguise.", "_Flut._ Egad, I believe you are right.--Well, the story is as good one\nway as t'other, you know. Good morning. I am going to Mrs. Crotchet's" ], [ "_Sir Geo._ Tell him then, to add to the ridicule, that Touchwood glories\nin the name of Husband; that he has found in one Englishwoman more", "_Sir George._ Heaven and earth! with whom can a man trust his wife,\nin the present state of society? Formerly there were distinctions", "grows a downright Wife, and then runs crying to her Mother, because she\nhas transform'd her _Lover_ into a downright Husband.", "_Sir Geo._ I was going to follow her, and now I dare not. How can I be\nsuch a fool as to be govern'd by the _fear_ of that ridicule which I\ndespise! [_Exit Sir_ George.", "_Lady Fran._ 'Tis very odd; his manner has made me tremble. Let us seek\nSir George.\n\n_Flut._ He is coming towards us.", "_Miss Ogle._ Come, Lady Frances, you see what a cruel creature your\nloving Husband can be; so let us leave him.\n\n_Sir Geo._ Madam, Lady Frances shall not go.", "_Sir Geo._ No; heaven forbid she should!--If she had, Madam, she would\nnever have been my Wife!\n\n_Mrs. Rack._ Are you serious?", "_Mrs. Rack._ That really she is frighten'd out of her wits--lest it\nshould be impossible to bring matters about. But _I_ have taken the", "_Mrs. Rack._ Here soon, I hope--for a woeful Night it will be without\nhim.\n\n_Sir Geo._ Oh, fie! do you condescend to pun?", "_Sir Geo._ And what said her Husband?\n\n_Flut._ Her Husband! Why, her Husband laugh'd, and said a Cucumber would\nhave been a happier simile.", "_Sav._ Ridiculous!--But, how are you certain that the Woman who has so\nbewildered you, belongs to Lord George?\n\n_Doric._ Flutter told me so.", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "now Sir George is metamorphosed into a sour Censor; and talks of\nFashionable Life with as much bitterness, as the old crabbed Fellow in\nRome.", "_Doric._ Why look ye, Sir George, 'tis very plain you have no\ninclination to let me see your wife at all; so here I sit (_throws", "find a recompence for the lost affection of a doating Husband.\n[_Exit_ Sir George.", "_Mrs. Rack._ What! Do you stand so low in your own opinion, that you\ndare not trust yourself without Sir George! If you chuse to play Darby", "_Lady Fran._ I wish Sir George was here.----This man follows me about,\nand stares at me in such a way, that I am quite uneasy.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "_Sav._ No, Madam, you are deceiv'd: Sir George is this way.\n\n_Lady Fran._ This is astonishing!", "_Sir Geo._ A being easily described, Madam, as she is seen every where,\nbut in her own house. She sleeps at home, but she lives all over the" ], [ "_Flut._ Oh!--Now, he's melancholy mad, I suppose.\n\n_Lady Fran._ You do not consider the importance of the occasion.", "_Court._ No, no;--there's no time for forms. I'll just give directions\nto the carriage, and be with you in a moment. (_Going, steps back._) Put", "SCENE II.----_Courtall_'s.\n\n_Enter_ Courtall, Saville, _and three others, from an Apartment in the\nback Scene_. (_The last three tipsey._)", "END OF THE FIRST ACT.\n\n\n\n\nACT II.\n\n\nSCENE I. _Sir George Touchwood_'s.", "_Enter Sir_ George.\n\n_Sir Geo._ (_Aside._) 'Sdeath! another room full!\n\n_Lady Fran._ My love! Mrs. Racket, and Miss Ogle.", "society, in these sad times, I shall postpone it for a few years. This\nwill cost her a new lace--I heard it crack. (_Aside._)", "_Lady Fran._ Yes; within these twenty minutes.\n\n_Mrs. Rack._ Aye, 'tis of no consequence.----'Tis all over--Doricourt is\nmad.", "_Sav._ (_without_) Come, let me guide you!--This way, my poor Friend!\nWhy are you so furious?\n\n_Doric._ (_without_) The House of Death--to the House of Death!", "_Lady Fran._ No; depend on us. [_Exit._\n\n\nSCENE IV.----Doricourt'_s_.\n\nDoricourt _seated, reading_.", "door, whilst the rest hold_ Courtall.]----Beg your Ladyship's pardon,\nwhoever you are: [_Leads her out._] Emerge from darkness like the", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt.", "Saville _advances with_ Kitty.\n\n_Sav._ Now, Kitty, you know your lesson. Lady Frances, (_takes off his\nmask_) let me lead you to your Husband.", "_Enter_ Doricourt, _meeting a Mask_.\n\n_Doric._ Ha! my Lord!--I thought you had been engaged at Westminster on\nthis important night.", "_Flut._ Oh, every creature.--A Mask is nothing at all to me.--I can give\nyou the history of half the people here. In the next apartment there's a", "_Enter_ Saville, _followed by a Servant, at the top of the stage,\nlooking round, as if at a loss_.\n\n\n_Saville._", "_Court._ I shall meet her at Lady Brilliant's to-night, where I shall\nrepeat it; and I'll lay my life, under a mask, she'll hear it all\nwithout blush, or frown.", "_Lady Fran._ Pray do. I should like to see him shewing off, now I am in\nthe secret.\n\n_Sav._ You must be obeyed; though 'tis inhuman to conceal his happiness.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Crowq._ No, Sir; it is with you, if you please, that I want to speak.\n\n_Port._ Me! Well, what do you want with me?", "_Lady Fran._ Adieu! my Love!--We shall meet again at dinner. (_Going._)\n\n_Sir Geo._ Sure, I am in a dream!--Fanny!" ], [ "_Hardy._ And pray, of what sort may your cares be, Mrs. Letitia? I begin\nto foresee now that you have taken a dislike to Doricourt.\n\n_Letit._ Indeed, Sir, I have not.", "_Enter_ Letitia, _masked, led by_ Saville.\n\n_Sav._ Mr. Doricourt, this Lady was pressing to be introduced to you.", "_Mrs. Rack._ Fye, Letitia! Mr. Doricourt thinks you a woman of elegant\nmanners. Stand forward, and confirm his opinion.", "_Letit._ Certainly. I know the design is a rash one, and the event\nimportant;--it either makes Doricourt mine by all the tenderest ties of", "_Dor._ To fall in love with it.\n\n_Let._ And what then?\n\n_Dor._ Why, then--Aye, curse it! there's the rub. [_Aside._]", "_Let._ This is the most awful moment of my life. Oh, Doricourt, the\nslight action of taking off my Mask, stamps me the most blest or\nmiserable of Women!", "_Letit._ I fear, Sir--if I must speak--I fear I was less agreeable in\nMr. Doricourt's eyes, than he appeared in mine.", "_Letit._ Laws! Papa, do come along. If you stand watching, how can my\nSweetheart break his mind, and tell me how he admires me?\n\n_Doric._ That would be difficult, indeed, Madam.", "_Dor._ Why all this mystery?\n\n_Let._ I like to be mysterious. At present be content to know that I am\na Woman of Family and Fortune. Adieu!", "_Doric._ Charming, charming creature!\n\n_Let._ Congratulate me, my dear friends! Can you conceive my happiness?", "_Sav._ Come, come, Doricourt, you know very well that when the honour\nof a husband is _locum-tenens_ for his heart, his wife must be as\nindifferent as himself, if she is not unhappy.", "_Let._ Your Mistress will be angry;--but, perhaps, you have no Mistress?\n\n_Dor._ Yes, yes; and a sweet one it is!\n\n_Let._ What! is she old?", "_Sir Geo._ What devil possessed me to talk about her!--Here, Doricourt!\n(_Running after him._) Doricourt!", "_Doric._ Yes; since my designs have been so unaccountably discovered, I\nwill avow the whole. I cannot love Miss Hardy--and I will never----", "_Mrs. Rack._ My poor Letitia!--Just as we were enjoying ourselves with\nthe prospect of a scheme that was planned for their mutual happiness, in", "_Court._ Marriage! Doricourt on the point of marriage! 'Tis the happiest\ntidings you could have given, next to his being hanged--Who is the Bride\nelect?", "_Doric._ It must be so. There was a mystery in her manner, for which\nnothing else can account. [_A violent rap._] Who can this be? [Saville\n_looks out_.]", "_Dor._ Your Virgin heart! No, Lady----my fate, thank Heaven! yet wants\nthat torture. Nothing but the conviction that you was another's, could", "_Letit._ I have the strongest confidence in it. I am inspired with\nunusual spirits, and on this hazard willingly stake my chance for\nhappiness. I am impatient to begin my measures. [_Exit_ Letitia.", "SCENE III.----_An Apartment at_ Doricourt'_s_.\n\n_Enter_ Doricourt." ] ]

[ "Who is Letitia promised to?", "Who is Sir George Touchwood's wife?", "When was the last time Letitia seen Doricourt?", "Who makes Doricourt unmoved?", "How does Letitia want love?", "Who is Sir George jealous of?", "What was this story for Ellen Terry?", "When does this story take place?", "What does Letitia plan?", "In the story, who is Letitia Hardy promised to marry?", "In what city does the story take place?", "To Letitia's surprise, what feelings does she discover she has for Doricourt?", "Letitia's plans to charm Doricourt are challenged when she discovers what about his feelings for her?", "Why does Letitia plan to trick Doricourt into passion?", "How does Sir George's aquaintance plan to change Lady Frances?", "Sir George believes that his wife Lady Frances is corrupted by what?", "What feeling does Sir George harbor toward his lovely country-bred wife?", "Why does Sir George's aquaintance plan to turn Lady Frances into a fine lady?", "What is Lady Francis' relationship to Sir George?", "To whom has Letitia Hardy been promised?", "Upon meeting how does Doricourt treat Letitia?", "How does Letitia feel about Doricourt?", "Of whom is Sir George madly jealous?", "What century is the tale set in?", "What city is the tale set in?", "What does George fear his country wife might become?", "In which social occasion does the drama unfold?", "What type of love relationship is Letitia seeking to elicit from Doricourt?" ]

[ [ "Doricourt", "Letitia is promised to a Doricourt who she knew during childhood." ], [ "Lady Francis Touchwood", "Lady Francis Touchwood" ], [ "Childhood", "Childhood" ], [ "Letitia", "Letitia Hardy" ], [ "Equally adored by man", "She wants to love someone who loves her back equally." ], [ "His wife", "Lady Frances" ], [ "His favorite role", "A favorite." ], [ "1780's", "1780s" ], [ "a bold deception ", "To trick Doricourt into passion." ], [ "Doricourt", "Doricourt" ], [ "London", "London" ], [ "That she is madly in love with him.", "She is head over heels in love with him." ], [ "That he is unmoved by her.", "He doesn't care for her." ], [ "Because she wishes to marry someone who adores her equally.", "She wants to marry someone that loves her equally." ], [ "By turning her into a fine lady.", "She wants to change Lady Frances into a fine young woman." ], [ "By a fashionable life.", "fashionable life" ], [ "Jealousy", "jealousy " ], [ "To spite the jealous Sir George.", "She is from the rural county" ], [ "Lady Francis is Sir George's wife.", "Wife" ], [ "Doricourt", "Doricourt" ], [ "With indifference.", "He is unmoved by her" ], [ "Letitia is hopelessly in love with Doricourt.", "She is charmed by him" ], [ "Lady Francis, his wife.", "Lady Frances" ], [ "The Eighteenth.", "18th century" ], [ "London", "London" ], [ "Dangerously sophisticated.", "George is afraid his wife may become a fashionable fine lady." ], [ "A Masquerade Ball.", "A masquerade ball" ], [ "One where he is equally in love with her.", "One where he loves her equal to how much she loves him" ] ]

[ [ "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "What had made Mr Bickersdyke change his mind so abruptly was the sudden\nrealization of the fact that he had no case against Psmith. In his", "'Well,' said Mike, with a grin, 'I know one person who'll jolly well\ndistort your motives, as you call it, and that's Bickersdyke.'\n\nPsmith looked thoughtful.", "Mr Bickersdyke sat up. The hands of the clock had moved again, and he\nwas back in what Psmith had called the live, vivid present.\n\n'What have you got there?' he demanded.", "'Has he--?' Mr Waller hesitated.\n\n'You were saying?' said Psmith.\n\n'Does Mr Bickersdyke intend to dismiss him?'", "hearing Mr Bickersdyke speak, without going out of his way to make\nmore. So Psmith had gone off to Kenningford alone, and Mike, feeling", "might have seized the first opportunity of engaging him in\nconversation. Not so Psmith. The first time he met Mr Bickersdyke in\nthe club was on the stairs after dinner one night. The great man,", "The paper rustled, but no reply came from behind it.\n\n'I heard from father this morning,' resumed Psmith.\n\nMr Bickersdyke lowered his paper and glared at him.", "'So that taking everything into consideration,' said Psmith, summing\nup, 'I fancy that Comrade Bickersdyke is home.'\n\nAnd the papers next day proved that he was right.", "'You know what I am alluding to. Your behaviour during my speech.'\n\n'An excellent speech,' murmured Psmith courteously.\n\n'Well?' said Mr Bickersdyke.", "Mr Bickersdyke received him with the ominous restraint of a tiger\ncrouching for its spring. Psmith stood beside the table with languid\ngrace, suggestive of some favoured confidential secretary waiting for\ninstructions.", "'Myself, nothing,' said Psmith. 'But I understand that Mr Gregory has\nsome communication to make.'\n\n'Tell Mr Bickersdyke that story of yours,' said Mr Gregory.", "'Oh, Mr Bickersdyke,' said Psmith.\n\nThe manager stopped.\n\n'Father sent his kind regards to you,' said Psmith benevolently.", "Mr Bickersdyke interrupted.\n\n'I do not wish for any more buffoonery, Mr Smith--'\n\nPsmith raised a pained pair of eyebrows.", "said yes, he thought so too. And it was at this moment that Mr\nBickersdyke sent for him to ask whether Psmith's work was satisfactory.", "'True,' said Psmith, 'to a certain extent. It is an undoubted fact that\nComrade Bickersdyke will have a jolly good try at making life a", "'Aha!' said Psmith.\n\n'Who's Bickersdyke? Anything to do with our Bickersdyke?'\n\n'No other than our genial friend himself.'", "Comrade Bickersdyke. Wrongly, perhaps,' added Psmith modestly, 'he\nthinks somewhat highly of my judgement. If he sees that I am opposed to", "Mr Bickersdyke shifted uneasily on his sofa. He glared at the floor.\nThen he eyed the ceiling as if it were a personal enemy of his. Finally\nhe looked at Psmith. Psmith's eyes were closed in peaceful meditation.", "understand the true inwardness of Psmith's stare. Theoretically, Mr\nBickersdyke had the power to dismiss any subordinate of his whom he did" ], [ "This was what happened in Mike's case. Day by day, through the summer,\nas the City grew hotter and stuffier, his hatred of the bank became", "Mike did not like being in the bank, considered in the light of a\ncareer. But he bore no grudge against the inmates of the bank, such as", "The other event which altered Mike's life in the bank was his removal\nfrom Mr Waller's department to the Fixed Deposits. The work in the", "that Mike was something out of the common run of bank clerks. The whole\nsystem of banking was a horrid mystery to him. He did not understand\nwhy things were done, or how the various departments depended on and", "In the dark days, when everything was fog and slush, Mike had been\ncontented enough to spend his mornings and afternoons in the bank, and", "During the following fortnight, two things happened which materially\naltered Mike's position in the bank.", "playing for the county, he was given to understand by his employer that\nthat was his chief duty. It never occurred to him that Mike might find\nhis bank less amenable in the matter of giving leave. His only fear,", "So that, altogether, Mike's life in the bank had become very fairly\npleasant.", "to Mike his intention of leaving the bank as soon as he had made a\nname, and taking seriously to the business. He told him that he had\nknocked them at the Bedford the week before, and in support of the", "'You haven't told me yet what on earth you're doing here,' said Mike.\n'I thought you were going to the 'Varsity. Why the dickens are you in a\nbank? Your pater hasn't lost his money, has he?'", "'Once and for all,' growled Mr Bickersdyke, 'the thing is ended. Mr\nJackson will leave the bank at the end of the month. We have no room\nfor fools in the office.'", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "Till now Mike had been completely at a loss to understand why the\nmanager had sent for him on the morning following the scene about the", "Mike, as day succeeded day, began to grow accustomed to the life of the\nbank, and to find that it had its pleasant side after all. Whenever a", "'It seems to me,' said Mike gloomily, 'that we are in for a pretty\nrotten time of it in this bally bank. If Bickersdyke's got his knife", "On returning to the bank, Mike found Mr Waller in the grip of a\npeculiarly varied set of mixed feelings. Shortly after Mike's departure", "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "that there would be trouble. But, then, trouble is such an elastic\nword. It embraces a hundred degrees of meaning. Mike had expected\nsentence of dismissal, and he had got it. So far he had nothing to", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "cheque, and informed him that he had reconsidered his decision to\ndismiss him. Mike could not help feeling that there was more in the" ], [ "Mike's mind roamed into the future. Cambridge first, and then an\nopen-air life of the sort he had always dreamed of. The Problem of", "and but for the dreary outlook which the future held--for Mike, unlike\nmost of his follow workers, was not attracted by the idea of a life in\nthe East--he would have been very fairly content.", "which he bore in patient silence, hoping for better times. With Mike\nobviously discontented and out of tune with all the world, there was\nbut little amusement to be extracted from the evenings now. Mike did", "The prospect did not dazzle Mike, but any change, he thought, must be\nfor the better. He had sat staring at the ruin of the blancmange so", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "naturally to a life of commerce. Mike was not of these. To him the\nrestraint of the business was irksome. He had been used to an open-air", "Mike made no answer. His eyes were fixed on his plate. A bead of\nperspiration began to roll down his forehead. If his feelings could", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "But now things had changed. The place had become a prison. With all the\nenergy of one who had been born and bred in the country, Mike hated", "afterwards he had skimmed away again. Mike, as he watched him, began to\nappreciate Psmith's reasons for feeling some doubt as to what would be\nhis future walk in life.", "to Mike his intention of leaving the bank as soon as he had made a\nname, and taking seriously to the business. He told him that he had\nknocked them at the Bedford the week before, and in support of the", "Mike did not like being in the bank, considered in the light of a\ncareer. But he bore no grudge against the inmates of the bank, such as", "All of which emotions, taken simultaneously, had the effect of\nrendering him completely dumb when he saw Mike. He felt that he did not", "'Oh, that's all right,' said Mike thickly. There seemed to be something\nsticking in his throat, preventing him from speaking.\n\n'If there was any possible way--'", "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "'What Smith wants to know,' said Mike, 'is whether Rossiter has any\nhobby of any kind. He thinks, if he has, he might work it to keep in\nwith him.'", "go out of his way to do this. Mike, like most boys of his age, was\nnever really happy and at his ease except in the presence of those of", "He left the room, and walked dreamily back to the Postage Department,\nleaving the manager still staring glassily at nothing.\n\n\n\n\n13. Mike is Moved On", "In the dark days, when everything was fog and slush, Mike had been\ncontented enough to spend his mornings and afternoons in the bank, and" ], [ "Psmith slid from his stool, and made his way deferentially towards him.\n\n'Bannister's a fool,' snapped Mr Rossiter.\n\n'So I thought,' said Psmith.", "Psmith was the first to recover. Mr Rossiter was still too confused for\nspeech, but Psmith took the situation in hand.", "'That little more,' sighed Psmith, 'and how much is it!'\n\n'Who are you?' snapped Mr Rossiter, turning on him.\n\n'I shall be delighted, Comrade--'", "'By kindness,' said Psmith to Mike, after one of these expeditions. 'By\ntact and kindness. That is how it is done. I do not despair of training\nComrade Rossiter one of these days to jump through paper hoops.'", "'Perhaps, so,' said Psmith, 'perhaps so. On the other hand, however\nrestful it may be to myself, it does not enable me to secure Comrade\nRossiter's interest and win his esteem.'", "'Comrade Rossiter's manners are a little restive,' agreed Psmith. 'What\nused you to talk to him about?'\n\n'What used I to talk to him about?'", "Two minutes later, Mr Rossiter was sitting at his desk with a dazed\nexpression, while Psmith, perched gracefully on a stool, entered\nfigures in a ledger.", "Mike's first duty at the bank that morning was to check the stamps and\npetty cash. While he was engaged on this task, he heard Psmith\nconversing affably with Mr Rossiter.", "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "'Precisely,' said Psmith. 'Every man has his hobby. The thing is to\nfind it out. In the case of comrade Rossiter, I should say that it", "might have seized the first opportunity of engaging him in\nconversation. Not so Psmith. The first time he met Mr Bickersdyke in\nthe club was on the stairs after dinner one night. The great man,", "panther. To report his subordinates to the manager seemed now to be a\nlost art with him. The sight of Psmith and Mr Rossiter proceeding high", "'Pardon my interrupting a conversation between old college chums,' said\nPsmith courteously, 'but I happened to overhear, as I toiled at my\ndesk, the name of Comrade Rossiter.'", "Psmith received the cashier with a dignified kindliness.\n\n'Oh, er, Smith,' said Mr Waller, 'I wanted just to ask you about\nJackson.'", "At lunch that day Mike sat next to Mr Smith, and improved his\nacquaintance with him; and by the end of the week they were on\nexcellent terms. Psmith's father had Psmith's gift of getting on well\nwith people.", "But Psmith was different. He could get on with anyone. He seemed to\nhave the gift of entering into their minds and seeing things from their\npoint of view.", "There was nothing crude or overdone about Psmith's methods. The\nordinary man, having conceived the idea of haunting a fellow clubman,", "The happy thought struck him of consulting Psmith. It was his hour for\npottering, so he pottered round to the Postage Department, where he", "They were to meet Mr Waller at the edge of the Common nearest the\nold town of Clapham. On the journey down Psmith was inclined to be", "'Work,' said Psmith, with simple dignity. 'I am now a member of the\nstaff of this bank. Its interests are my interests. Psmith, the" ], [ "'Hullo!' he said.\n\n'Who's that?' said an agitated voice. 'Is that you, Mike? I'm Joe.'", "The other man was talking into a telephone. Mike waited till he had\nfinished. Then he coughed. The man turned round. Mike had thought, as", "For the space of, perhaps, one minute, Mike thought.\n\n'Well?' said Joe's voice.", "'Rough luck,' said Mike. 'I wonder why it is. Jolly good about Joe,\nwasn't it? Let's have fifty up, shall we?'", "Reggie was another of Mike's brothers, not nearly so fine a player as\nJoe, but a sound bat, who generally made runs if allowed to stay in.", "He broke off. Mr Jackson did not seem to be attending. There was a\nsilence. Then Mr Jackson spoke with an obvious effort.\n\n'Look here, Mike, we've always understood one another, haven't we?'", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "'It shall be done. Good-bye.'\n\n'Good-bye.'\n\nMike replaced the receiver, and went up to his balcony again.", "Mike corrected the rash guess, and gave his name. It struck him as a\ncurious coincidence that he should be asked if his name were Smith, of\nall others. Not that it is an uncommon name.", "He was conscious of Joe leaving the crease to meet him on his way. He\nsmiled feebly. 'Buck up,' said Joe in that robust way of his which was", "'Hullo, Joe,' said Mike. 'What's up? I'm coming to see you this\nevening. I'm going to try and get off early.'", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "'Not much,' grinned Mike. 'They were too busy with us. All right, I'll\ncome if you really want me to, but it's awful rot.'", "He listened gravely while Mike related the incidents which had led up\nto his confession and the results of the same. At the conclusion of the\nnarrative he sipped his coffee in silence for a moment.", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "Mike got to Lord's just as the umpires moved out into the field. He\nraced round to the pavilion. Joe met him on the stairs.", "Mike flung himself down on the turf with mixed feelings. He was sorry\nJoe was out, but he was very glad indeed of the chance of a rest. He", "of making Mike's acquaintance. He merely stared at him as if he were a\nblot on the arrangement of the furniture, and said, 'Well?'", "All of which emotions, taken simultaneously, had the effect of\nrendering him completely dumb when he saw Mike. He felt that he did not", "shouted. He always spoke as if he were competing against a high wind.\nWith Mike he shouted more than usual. On his side, it must be admitted" ], [ "Mike drove across the Park to Victoria, feeling very empty and small.\nHe had settled on Dulwich as the spot to get lodgings, partly because,", "The cab arrived at Dulwich station, and Mike stood up to direct the\ndriver. They whirred down Acacia Road. Mike stopped the cab and got", "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "It was a repulsive room. One of those characterless rooms which are\nonly found in furnished apartments. To Mike, used to the comforts of", "Mike made no further objections. The thought of that bed-sitting room\nin Acacia Road and the pantomime dame rose up and killed them. After", "Mike felt that he was in for it now. He had not sufficient ease of\nmanner to back gracefully away and disappear, so he said that there was\nsomething. In point of fact, he wanted a bed-sitting room.", "He left the room, and walked dreamily back to the Postage Department,\nleaving the manager still staring glassily at nothing.\n\n\n\n\n13. Mike is Moved On", "The clock on the tower over the senior block chimed quarter after\nquarter, but Mike sat on, thinking. It was quite late when he got up,\nand began to walk back to Acacia Road. He felt cold and stiff and very\nmiserable.", "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "But now things had changed. The place had become a prison. With all the\nenergy of one who had been born and bred in the country, Mike hated", "They were talking in the flat at Clement's Inn. The night was hot.\nThrough the open windows the roar of the Strand sounded faintly. Mike\nwalked to the window and looked out.", "Mike's mind roamed into the future. Cambridge first, and then an\nopen-air life of the sort he had always dreamed of. The Problem of", "out. A brief and somewhat embarrassing interview with the pantomime\ndame, during which Mike was separated from a week's rent in lieu of", "Mike had left the scene of battle by the time Psmith reached the Cash\nDepartment, and was sitting at his desk in a somewhat dazed condition,", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "Mike waited till the outcoming batsman had turned in at the\nprofessionals' gate. Then he walked down the steps and out into the", "to Mike his intention of leaving the bank as soon as he had made a\nname, and taking seriously to the business. He told him that he had\nknocked them at the Bedford the week before, and in support of the", "Psmith arrived at the flat to find Mike still out. Mike had repaired to\nthe Gaiety earlier in the evening to refresh his mind after the labours", "'I'm going to bed,' said Mike, rising.\n\nPsmith watched him lounge from the room, and shook his head sadly. All\nwas not well with his confidential secretary and adviser.", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him." ], [ "Mr Waller looked with interest at Mike, who shuffled and felt awkward.\nHe was hoping that Psmith would say nothing about the reason of his", "When Mr Waller got up to speak on platform number three, his audience\nconsisted at first only of Psmith, Mike, and a fox-terrier. Gradually", "Mike, separated from Psmith by the movement of the crowd, listened with\na growing depression. That feeling which attacks a sensitive person\nsometimes at the theatre when somebody is making himself ridiculous on", "They were to meet Mr Waller at the edge of the Common nearest the\nold town of Clapham. On the journey down Psmith was inclined to be", "It was after one of these visits of Psmith's that Mr Waller displayed a\nnew and unsuspected side to his character. Psmith had come round in a", "There is one thing which will always distract the attention of a crowd\nfrom any speaker, and that is a dispute between two of its units. Mr\nWaller's views on temperance were forgotten in an instant. The audience\nsurged round Mike and his opponent.", "Psmith extended his hand gravely. Mr Waller shook it with enthusiasm.\n\n'I have never liked to speak of it to anybody in the office,' said Mr\nWaller, 'but I, too, am heart and soul in the movement.'", "While Mike was changing, Psmith sat on his bed, and continued to\ndiscourse.\n\n'I suppose you're going to the 'Varsity?' he said.", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "understood. Mr Waller looked, astonished, at Mr Richards. Mr Richards,\npink but dogged, loosened his collar, but said nothing. Psmith, leaning", "'I say, Smith,' he said, 'I want to speak to you for a second.'\n\nPsmith rose. Mike led the way to a quiet corner of the Telegrams\nDepartment.", "hearing Mr Bickersdyke speak, without going out of his way to make\nmore. So Psmith had gone off to Kenningford alone, and Mike, feeling", "with a yell, but Psmith was there before him. Mike saw his assailant\nlift the stick again, and then collapse as the old Etonian's right took\nhim under the chin.", "'What? Do you mean to say--?'\n\nPsmith related briefly the history of Mike's departure.\n\nMr Smith listened with interest.", "Comrade Prebble backed the reluctant Mike into a corner, and, like the\nAncient Mariner, held him with a glittering eye. Psmith and Mr Waller,", "The other two attacked Psmith simultaneously, one on each side. In\ndoing so, the one on the left tripped over Mike and Bill, who were", "entertainment from it. Psmith was not unacquainted with the West End,\nand he proved an excellent guide. At first Mike expostulated with", "was booming. Mike had written to him by return, telling him of the\ndisaster which had befallen the house of Jackson. Mike wished he could\nhave told him in person, for Psmith had a way of treating unpleasant", "Mike almost laughed. The situation was tickling him.\n\n'Mr Waller has told me--' he began.\n\n'I have already seen Mr Waller.'", "appearances engrossed in it. Psmith, however, not discouraged,\nproceeded to touch upon the matter of Mike." ], [ "Psmith called for the bill and paid it in the affable manner of a\nmonarch signing a charter. Mike sat silent, his mind in a whirl. He saw", "This episode may be said to have concluded the first act of the\ncommercial drama in which Mike and Psmith had been cast for leading", "was booming. Mike had written to him by return, telling him of the\ndisaster which had befallen the house of Jackson. Mike wished he could\nhave told him in person, for Psmith had a way of treating unpleasant", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "entertainment from it. Psmith was not unacquainted with the West End,\nand he proved an excellent guide. At first Mike expostulated with", "While Mike was changing, Psmith sat on his bed, and continued to\ndiscourse.\n\n'I suppose you're going to the 'Varsity?' he said.", "of stumps. Psmith waited for Mike while he changed, and carried him off\nin a cab to Simpson's, a restaurant which, as he justly observed,", "distinctly brusque. Mike was thoroughly puzzled. To Psmith's statement,\nthat he had talked the matter over quietly with the manager and brought\nthings to a satisfactory conclusion, he had paid little attention. But", "movement to stop them. Psmith and Mike charged through the gap, and\nraced for the road.", "itself. He habitually addressed Psmith as Smithy, a fact which\nentertained Mike greatly but did not seem to amuse Psmith to any", "Mike shut his ledger with a vicious bang, and went across to find\nPsmith. He was glad the day was over.\n\n\n\n\n20. Concerning a Cheque", "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "'Good man,' said Mike. 'I'll wait here.'\n\nPsmith departed, and returned, ten minutes later, looking more serious\nthan when he had left.", "At lunch that day Mike sat next to Mr Smith, and improved his\nacquaintance with him; and by the end of the week they were on\nexcellent terms. Psmith's father had Psmith's gift of getting on well\nwith people.", "These reunions are very awkward. Mike was frankly unequal to the\nsituation. Psmith, in his place, would have opened the conversation,", "The other two attacked Psmith simultaneously, one on each side. In\ndoing so, the one on the left tripped over Mike and Bill, who were", "Mike had left the scene of battle by the time Psmith reached the Cash\nDepartment, and was sitting at his desk in a somewhat dazed condition,", "Mike re-read this letter in the train that took him to London. By this\ntime Psmith would know that his was not the only case in which Commerce", "off. Get on with that tram, conductor.' Psmith and Mike settled\nthemselves in a seat on the roof. When the conductor came along, Psmith", "'What? Do you mean to say--?'\n\nPsmith related briefly the history of Mike's departure.\n\nMr Smith listened with interest." ], [ "Mr Bickersdyke said nothing. Unless a snort of fury may be counted as\nanything.\n\n\n\n\n24. The Spirit of Unrest", "Mr Bickersdyke turned away. He was a conscientious bank manager, and\none can only suppose that Mr Rossiter's tribute to the earnestness of", "'Once and for all,' growled Mr Bickersdyke, 'the thing is ended. Mr\nJackson will leave the bank at the end of the month. We have no room\nfor fools in the office.'", "Mr Bickersdyke resumed his speech. But the fire had gone out of it. He\nhad lost his audience. A moment before, he had grasped them and played", "Mr Bickersdyke galloped unsteadily on. He condemned the Government. He\nsaid they had betrayed their trust.\n\nAnd then he told an anecdote.", "'Sir John is in there,' went on the cashier. 'He is furious. Mr\nBickersdyke, too. They are both furious. I shall be dismissed. I shall", "interest. Mr Bickersdyke, never a great performer at the best of times,\nwas so unsettled by the scrutiny that in the deciding game of the", "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "like this. Mr Bickersdyke's partner did not bear his calamity with\nmanly resignation. He gave tongue on the instant. 'What on earth's',", "Mr Bickersdyke spoke.\n\n'Well, Mr Smith?' he said.\n\n'You wished to see me about something, sir?' inquired Psmith,\ningratiatingly.", "'Don't stand there gaping at me, man,' cried Mr Bickersdyke, 'Go away.'", "Mr Bickersdyke by mistake. Also it had been discovered, on the eve of\nthe poll, that the bank manager's opponent, in his youth, had been", "Mr Bickersdyke lowered the paper and glared bulbously at the old\nEtonian.\n\n'Mr Jackson is perfectly right,' he snapped. 'Of course I dismissed\nhim.'", "that they had been together in less prosperous days--or possibly\nbecause of it--were not on very good terms. Mr Bickersdyke was a man of", "Mr Bickersdyke spoke well. He had a penetrating, if harsh, voice, and\nhe said what he had to say forcibly. Little by little the audience came", "joke of Mr Bickersdyke's, and had been instantly presented with the\nsack for gross impertinence.", "Bickersdyke. He is about to sustain a nasty shock, and may need a\nrestorative at a moment's notice. For all we know, his heart may not be", "'I shall lose my place. Mr Bickersdyke has wanted to get rid of me for\na long time. He never liked me. I shall be dismissed. What can I do?", "The column was headed, 'Amusing Heckling'.\n\nMr Bickersdyke read a few lines, and crumpled the paper up with a\nsnort.", "Mr Bickersdyke shifted uneasily on his sofa. He glared at the floor.\nThen he eyed the ceiling as if it were a personal enemy of his. Finally\nhe looked at Psmith. Psmith's eyes were closed in peaceful meditation." ], [ "Comrade Jackson. I engaged him in conversation on the subject of the\nFootball League, and I was just trying to correct his view that\nNewcastle United were the best team playing, when you arrived.'", "beside me.\" His face brightened immediately. \"Comrade Jackson,\" he\nsaid, \"is a man in whom I have the supremest confidence. If he is with", "'There was some slight friction between him and the management. They\nwished him to be glued to his stool; he preferred to play for the\ncounty. I think we may say that Comrade Jackson has secured the Order\nof the Boot.'", "which keep me away--but Comrade Jackson is sure to be there, and will\nbe delighted to chat with him.'", "runs. Where others stroll, Comrade Jackson legs it like a highly-trained\nmustang of the prairie. He does not loiter. He gets back to his department", "signed it, and waved his hand at the door as a hint to hop it. Which I\njolly well did. He had started jawing Jackson again before I was out of\nthe room.'", "Mr Bickersdyke spoke.\n\n'Am I to understand,' he asked, with sinister calm, 'that Mr Jackson\nhas left his work and gone off to play in a cricket match?'", "A beautiful glide to leg by the greatest of the Jacksons had rolled up\nagainst the pavilion rails. The fieldsmen changed across for the next\nover.", "'You misunderstand me. Comrade Jackson has not gone to mix with any\nmember of our gay and thoughtless aristocracy. He has gone to Lord's\ncricket ground.'", "his lair, 'and centred, and Sandy Turnbull headed a beautiful goal. I\nwas just telling Jackson about the match against Blackburn Rovers,' he\nsaid to Mr Rossiter.", "Half-way through the game Mr Jackson entered the room, and stood\nwatching in silence.\n\n'Want a game, father?' asked Mike.", "aloft. We are dealing, Comrade Jackson, not with the live, vivid\npresent, but with the far-off, rusty past. And yet, in a way, there is", "'Comrade Jackson, I imagine, having heard a great deal about all men\nbeing equal, was anxious to test the theory, and see whether Comrade", "said that here was yet another Jackson, evidently well up to the family\nstandard, who was bound to do big things in the future.", "'Exactly,' he said. 'Comrade Jackson. I think I may say that you have\ncome to the right man. Comrade Jackson has placed himself in my hands,", "Jackson. You must check it. It is like dram-drinking. You begin in a\nsmall way by breaking school rules to extract Comrade Jellicoe (perhaps", "He broke off. Mr Jackson did not seem to be attending. There was a\nsilence. Then Mr Jackson spoke with an obvious effort.\n\n'Look here, Mike, we've always understood one another, haven't we?'", "'Oh, Jackson,' said Mr Waller, 'will you kindly take my place for a few\nminutes? I must go round and see the Inward Bills about something. I\nshall be back very soon.'", "way, but at that moment it stretched clear and broad before him. He\nfelt lighthearted and excited, as if he were watching the development\nof some interesting play at the theatre.", "football fields. It was all very pleasant and soothing after the\npantomime dame and her stuffy bed-sitting room. He sat down on a bench" ], [ "It was a repulsive room. One of those characterless rooms which are\nonly found in furnished apartments. To Mike, used to the comforts of", "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "Mike felt that he was in for it now. He had not sufficient ease of\nmanner to back gracefully away and disappear, so he said that there was\nsomething. In point of fact, he wanted a bed-sitting room.", "Mike walked up the aisle to Mr Bickersdyke's room, and went in.", "Mike drove across the Park to Victoria, feeling very empty and small.\nHe had settled on Dulwich as the spot to get lodgings, partly because,", "They were talking in the flat at Clement's Inn. The night was hot.\nThrough the open windows the roar of the Strand sounded faintly. Mike\nwalked to the window and looked out.", "But now things had changed. The place had become a prison. With all the\nenergy of one who had been born and bred in the country, Mike hated", "of making Mike's acquaintance. He merely stared at him as if he were a\nblot on the arrangement of the furniture, and said, 'Well?'", "He left the room, and walked dreamily back to the Postage Department,\nleaving the manager still staring glassily at nothing.\n\n\n\n\n13. Mike is Moved On", "Mike knocked at the managerial door, and went in.", "and, at intervals, take them down to the post office at the end of the\nstreet. The nature of the work gave Mike plenty of time for reflection.", "Mike made no further objections. The thought of that bed-sitting room\nin Acacia Road and the pantomime dame rose up and killed them. After", "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "He paid the waiter, and advanced across the room, followed by Mike. In\nhis hand, extended at arm's length, he bore the glass of brandy.", "Psmith arrived at the flat to find Mike still out. Mike had repaired to\nthe Gaiety earlier in the evening to refresh his mind after the labours", "out. A brief and somewhat embarrassing interview with the pantomime\ndame, during which Mike was separated from a week's rent in lieu of", "The clock on the tower over the senior block chimed quarter after\nquarter, but Mike sat on, thinking. It was quite late when he got up,\nand began to walk back to Acacia Road. He felt cold and stiff and very\nmiserable.", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "Out in the road, with the front door shut behind them, Mike spoke his\nmind.", "In the dark days, when everything was fog and slush, Mike had been\ncontented enough to spend his mornings and afternoons in the bank, and" ], [ "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "Mike felt that he was in for it now. He had not sufficient ease of\nmanner to back gracefully away and disappear, so he said that there was\nsomething. In point of fact, he wanted a bed-sitting room.", "'It's awfully good of you,' said Mike. He felt very grateful. After his\nexperience of London, it was a pleasant change to find someone who\nreally seemed to care what happened to him. His heart warmed to the\nbenevolent man.", "of making Mike's acquaintance. He merely stared at him as if he were a\nblot on the arrangement of the furniture, and said, 'Well?'", "It was a repulsive room. One of those characterless rooms which are\nonly found in furnished apartments. To Mike, used to the comforts of", "He rose. Mike followed his example with alacrity. It occurred to Mr\nBickersdyke, as they turned to go, that he had not yet been able to get", "He broke off. Mr Jackson did not seem to be attending. There was a\nsilence. Then Mr Jackson spoke with an obvious effort.\n\n'Look here, Mike, we've always understood one another, haven't we?'", "'It isn't,' said Mike. 'I--'\n\n'You will enter upon your duties tonight. Where are you suspended at\npresent?'\n\n'Dulwich. But, look here--'", "bed. His last words were in the form of a question, addressed to Mike,\non the subject of the hypotenuse and the square upon the same.", "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "go out of his way to do this. Mike, like most boys of his age, was\nnever really happy and at his ease except in the presence of those of", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "'Oh, that's all right,' said Mike thickly. There seemed to be something\nsticking in his throat, preventing him from speaking.\n\n'If there was any possible way--'", "'Not much,' grinned Mike. 'They were too busy with us. All right, I'll\ncome if you really want me to, but it's awful rot.'", "He paid the waiter, and advanced across the room, followed by Mike. In\nhis hand, extended at arm's length, he bore the glass of brandy.", "'It shall be done. Good-bye.'\n\n'Good-bye.'\n\nMike replaced the receiver, and went up to his balcony again.", "A short, stout man in a straw hat and a flannel suit was walking\ntowards them. As he came nearer Mike saw that he had a hard, thin-lipped", "some departments. The cashier seemed to have taken a fancy to Mike; and\nMike, as was usually the way with him when people went out of their way", "to Mike his intention of leaving the bank as soon as he had made a\nname, and taking seriously to the business. He told him that he had\nknocked them at the Bedford the week before, and in support of the" ], [ "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "Psmith shot an inquiring glance at him, but said nothing. This\nrestlessness of Mike's was causing him a good deal of inconvenience,", "Dashing away from the call-box, Mike nearly cannoned into Psmith, who\nwas making his way pensively to the telephone with the object of\nringing up the box office of the Haymarket Theatre.", "distinctly brusque. Mike was thoroughly puzzled. To Psmith's statement,\nthat he had talked the matter over quietly with the manager and brought\nthings to a satisfactory conclusion, he had paid little attention. But", "Psmith called for the bill and paid it in the affable manner of a\nmonarch signing a charter. Mike sat silent, his mind in a whirl. He saw", "'Look here, Psmith--' began Mike agitatedly.\n\n'I don't know. I think your solid, incisive style would rather go down\nwith the masses. However, we shall see, we shall see.'", "The hostility of Mr Bickersdyke was a slight drawback. Psmith had\ndeveloped a habit of taking Mike with him to the club of an evening;", "The other two attacked Psmith simultaneously, one on each side. In\ndoing so, the one on the left tripped over Mike and Bill, who were", "itself. He habitually addressed Psmith as Smithy, a fact which\nentertained Mike greatly but did not seem to amuse Psmith to any", "movement to stop them. Psmith and Mike charged through the gap, and\nraced for the road.", "Mike got up. Psmith was the man, he felt, to advise him in this crisis.\nPsmith's was the mind to grapple with his Hard Case.", "'I say, Smith,' he said, 'I want to speak to you for a second.'\n\nPsmith rose. Mike led the way to a quiet corner of the Telegrams\nDepartment.", "appearances engrossed in it. Psmith, however, not discouraged,\nproceeded to touch upon the matter of Mike.", "'Am I mistaken,' said Psmith to Mike, 'or is there the merest suspicion\nof a worried look on our chief's face? It seems to me that there is the\nslightest soupcon of shadow about that broad, calm brow.'", "with a yell, but Psmith was there before him. Mike saw his assailant\nlift the stick again, and then collapse as the old Etonian's right took\nhim under the chin.", "These reunions are very awkward. Mike was frankly unequal to the\nsituation. Psmith, in his place, would have opened the conversation,", "'Good man,' said Mike. 'I'll wait here.'\n\nPsmith departed, and returned, ten minutes later, looking more serious\nthan when he had left.", "'Yes, what about him?' said Mike. 'You'll have a pretty tough job\nturning him into a friendly native, I should think. How do you mean to\nstart?'\n\nPsmith regarded him with a benevolent eye.", "_debonnaire_. Mike, on the other hand, was silent and apprehensive.\nHe knew enough of Psmith to know that, if half an opportunity were\noffered him, he would extract entertainment from this affair after", "of having lost his temper. Psmith could look on the situation as a\nwhole, and count the risks and possibilities. Mike could only see Bill\nshuffling towards him with his head down and shoulders bunched." ], [ "Mike almost laughed. The situation was tickling him.\n\n'Mr Waller has told me--' he began.\n\n'I have already seen Mr Waller.'", "As regarded Mr Waller, Mike liked him personally, and was prepared, as\nwe have seen, to undertake considerable risks in his defence; but he", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "On returning to the bank, Mike found Mr Waller in the grip of a\npeculiarly varied set of mixed feelings. Shortly after Mike's departure", "As Mr Waller came nearer, Mike saw that the cashier's face was deadly\npale.\n\nMr Waller caught sight of him and quickened his pace.\n\n'Jackson,' he said.", "Mike could not make it out. He did not like to ask if there was\nanything the matter. Mr Waller's face had the unreasonable effect on", "Mr Waller looked with interest at Mike, who shuffled and felt awkward.\nHe was hoping that Psmith would say nothing about the reason of his", "'He's a blighter,' was Mike's verdict. Mr Waller made no comment. Mike\nwas to learn later that the manager and the cashier, despite the fact", "'Comrade Waller means well,' said a voice in Mike's ear, 'but if he\nshoots it at them like this much more there'll be a bit of an\nimbroglio.'", "minutes' acquaintance with Edward, Mike felt strongly that Mrs Waller\nwas the lucky one. Edward sat next to Mike, and showed a tendency to", "There is one thing which will always distract the attention of a crowd\nfrom any speaker, and that is a dispute between two of its units. Mr\nWaller's views on temperance were forgotten in an instant. The audience\nsurged round Mike and his opponent.", "At intervals during the meal Mr Waller talked. Mike was content to\nlisten. There was something soothing about the grey-bearded one.\n\n'What sort of a man is Bickersdyke?' asked Mike.", "The time crept slowly on to one o'clock. At two minutes past Mike awoke\nfrom a day-dream to find Mr Waller standing by his side. The cashier\nhad his hat on.", "'Look here, Smith,' said Mike, 'I wish you'd go round to the Cash and\nfind out what's up with old Waller. He's got the hump about something.", "precincts of the Cash Department, talking to Mike and Mr Waller. The\nlatter did not seem to share the dislike common among the other heads\nof departments of seeing his subordinates receiving visitors. Unless", "substitute for him, and cash cheques; but Mr Waller always went out at\na slack time, when few customers came in, and Mike seldom had any very\nstartling sum to hand over.", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "The other event which altered Mike's life in the bank was his removal\nfrom Mr Waller's department to the Fixed Deposits. The work in the", "and was performed with pen, ink, and ledgers in the background.\nOccasionally, when Mr Waller was out at lunch, Mike had to act as", "He listened gravely while Mike related the incidents which had led up\nto his confession and the results of the same. At the conclusion of the\nnarrative he sipped his coffee in silence for a moment." ], [ "Mr Bickersdyke, except for a slight deepening of the colour of his\ncomplexion, gave no sign of having seen them. He puffed away at his\ncigar, his eyes fixed on the ceiling.", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "Mr Waller looked with interest at Mike, who shuffled and felt awkward.\nHe was hoping that Psmith would say nothing about the reason of his", "No, that one's got some one in it. There's another. Hi! Here, lunatic!\nAre you blind? Good, he's seen us. That's right. Here he comes. Lord's", "As Mr Waller came nearer, Mike saw that the cashier's face was deadly\npale.\n\nMr Waller caught sight of him and quickened his pace.\n\n'Jackson,' he said.", "himself with the utmost care. He shuddered slightly as his eye fell on\nthe finger-marks; and without a word he went into his bathroom again.", "Mr Waller's silence and absentness continued unchanged. The habit of\nyears had made his work mechanical. Probably few of the customers who", "The time crept slowly on to one o'clock. At two minutes past Mike awoke\nfrom a day-dream to find Mr Waller standing by his side. The cashier\nhad his hat on.", "It continued to spin; but he never lost sight of the fact round which\nit revolved, namely, that he had been dismissed from the service of the\nbank. And for the first time he began to wonder what they would say\nabout this at home.", "At first the murmurs conveyed nothing to him. Then suddenly a name\ncaught his ear. Strowther was the name, and somehow it suggested", "The first intimation Mike had of this was a violent blow across the\nshoulders with a walking-stick. Even if he had been wearing his", "in the opposite corner, were looking at something with their heads\nclose together. Mike definitely abandoned all hope of a rescue from\nPsmith, and tried to buoy himself up with the reflection that this", "It was noted by the observant at the bank next morning that Mr\nBickersdyke had something on his mind. William, the messenger, knew it,", "Focusing his attention with some reluctance upon this blot on the\nhorizon, he discovered that the exploiter of rainbow waistcoats and\nsatin ties was addressing him.", "'Why,' he said.\n\n'It was a forgery,' muttered Mr Waller, sitting down heavily.", "With this comforting thought, he started on his perilous journey to the\nopen air. As he walked delicately, not courting observation, he", "Psmith sadly directed Mr Waller's attention to the waistcoat, which was\ncertainly definite in its colouring.\n\n'Nothing,' said Psmith. 'I only wanted to look at you.'", "There was no one in the department at the moment of his arrival; but a\nfew minutes later he saw Mr Waller come out of the manager's room, and\nmake his way down the aisle.", "signs. It seemed that she had gone straight to bed. Young Mr Richards\nwas sitting on the sofa, moodily turning the leaves of a photograph\nalbum, which contained portraits of Master Edward Waller in", "the honour to report total failure. The man seems to have no pleasures.\nWhat does he do with himself when the day's toil is ended? That giant\nbrain must occupy itself somehow.'" ], [ "He rose. Mike followed his example with alacrity. It occurred to Mr\nBickersdyke, as they turned to go, that he had not yet been able to get", "1. Mr Bickersdyke Walks behind the Bowler's Arm", "Mr Bickersdyke picked up a paper, opened it, and began searching the\ncolumns. He had not far to look. It was a slack season for the", "interest. Mr Bickersdyke, never a great performer at the best of times,\nwas so unsettled by the scrutiny that in the deciding game of the", "Bickersdyke. He is about to sustain a nasty shock, and may need a\nrestorative at a moment's notice. For all we know, his heart may not be", "Mr Bickersdyke spoke.\n\n'Well, Mr Smith?' he said.\n\n'You wished to see me about something, sir?' inquired Psmith,\ningratiatingly.", "Mr Bickersdyke turned away. He was a conscientious bank manager, and\none can only suppose that Mr Rossiter's tribute to the earnestness of", "Mr Bickersdyke galloped unsteadily on. He condemned the Government. He\nsaid they had betrayed their trust.\n\nAnd then he told an anecdote.", "It was noted by the observant at the bank next morning that Mr\nBickersdyke had something on his mind. William, the messenger, knew it,", "acknowledged only by a 'Morn'' which was almost an oath. Mr Bickersdyke\npassed up the aisle and into his room like an east wind. He sat down at", "He paused. Mr Bickersdyke's eyes, which even in their normal state\nprotruded slightly, now looked as if they might fall out at any moment.", "Mr Bickersdyke by mistake. Also it had been discovered, on the eve of\nthe poll, that the bank manager's opponent, in his youth, had been", "Mr Bickersdyke resumed his speech. But the fire had gone out of it. He\nhad lost his audience. A moment before, he had grasped them and played", "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "'Half a minute. You come with me and tell this yarn of yours to Mr\nBickersdyke.'", "He gave Mr Bickersdyke five minutes' start. Then, reckoning that by\nthat time he would probably have settled down, he pushed open the door", "When he did speak, he seemed to be speaking to himself. Every now and\nthen he would murmur a few words, sometimes a single name. In spite of\nhimself, Mr Bickersdyke found himself listening.", "'Hullo, Bickersdyke.' There was a slight internal struggle, and then Mr\nSmith ceased to be the cricketer and became the host. He chatted\namiably to the new-comer.", "such a man as Comrade Bickersdyke. In many ways a master-mind. But\nperhaps it is as well to close the chapter. How it happened it is hard", "Mr Bickersdyke spoke.\n\n'Am I to understand,' he asked, with sinister calm, 'that Mr Jackson\nhas left his work and gone off to play in a cricket match?'" ], [ "Reggie was another of Mike's brothers, not nearly so fine a player as\nJoe, but a sound bat, who generally made runs if allowed to stay in.", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "All of which emotions, taken simultaneously, had the effect of\nrendering him completely dumb when he saw Mike. He felt that he did not", "Mike corrected the rash guess, and gave his name. It struck him as a\ncurious coincidence that he should be asked if his name were Smith, of\nall others. Not that it is an uncommon name.", "Mike, rightly holding that this was merely a rhetorical question and\nthat Bill had no real thirst for information as to his family history,", "So Mike stood by him.", "29. And Mike's", "'Not much,' grinned Mike. 'They were too busy with us. All right, I'll\ncome if you really want me to, but it's awful rot.'", "He broke off. Mr Jackson did not seem to be attending. There was a\nsilence. Then Mr Jackson spoke with an obvious effort.\n\n'Look here, Mike, we've always understood one another, haven't we?'", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "truculent. And when, as usually happened, it did trouble him, he was a\nperfect fountain of abuse. Mike and he hated each other from the first.", "The crowd was becoming more threatening every minute. A group of young\nmen of the loafer class who stood near Mike were especially fertile in", "A short, stout man in a straw hat and a flannel suit was walking\ntowards them. As he came nearer Mike saw that he had a hard, thin-lipped", "of making Mike's acquaintance. He merely stared at him as if he were a\nblot on the arrangement of the furniture, and said, 'Well?'", "Mike made no answer. His eyes were fixed on his plate. A bead of\nperspiration began to roll down his forehead. If his feelings could", "The first intimation Mike had of this was a violent blow across the\nshoulders with a walking-stick. Even if he had been wearing his", "Mike, on the other hand, stood upright and hit straight, with the\nresult that he hurt his knuckles very much on his opponent's skull,", "The other man was talking into a telephone. Mike waited till he had\nfinished. Then he coughed. The man turned round. Mike had thought, as", "go out of his way to do this. Mike, like most boys of his age, was\nnever really happy and at his ease except in the presence of those of", "Bannister looked somewhat startled. Mike introduced them.\n\n'This is Smith,' he said. 'Chap I was at school with. This is\nBannister, Smith, who used to be on here till I came.'" ], [ "Mr Bickersdyke spoke.\n\n'Am I to understand,' he asked, with sinister calm, 'that Mr Jackson\nhas left his work and gone off to play in a cricket match?'", "'You misunderstand me. Comrade Jackson has not gone to mix with any\nmember of our gay and thoughtless aristocracy. He has gone to Lord's\ncricket ground.'", "cricket. And just at the moment cricket happened to be the pivot of his\nlife.", "There seemed only one opening for him. What could he do, he asked\nhimself. Just one thing. He could play cricket. It was by his cricket", "Mr Gregory's beard bristled even more than was its wont.\n\n'What!' he roared. 'Gone to watch a cricket match! Gone--!'", "The days passed slowly, and the cricket season began. Instead of being\na relief, this made matters worse. The little cricket he could get only\nmade him want more. It was as if a starving man had been given a\nhandful of wafer biscuits.", "'It's a lie,' roared Mr Gregory. 'You told me yourself he'd gone to\nplay in a cricket match.'\n\n'True. As I said, he received an urgent summons from his brother.'", "At a quarter to six the professional left, caught at very silly point\nfor eight. The score was a hundred and fifteen, of which Mike had made\neighty-five.", "taken on somewhere as a cricket professional. Cricket was his line. He\ncould earn his pay at that. But it was very far from being summer.", "'Where have you been, Bannister, where have you been? You must not\nleave your work in this way. There are several letters waiting to be\nentered. Where have you been?'", "'Unless you and Joe do something. There's no earthly need to get out.\nThe wicket's as good as you want, and the bowling's nothing special.\nWell played, Joe!'", "He scudded out to avert the tragedy, leaving Mike to digest his expert\nadvice on the art of batting on bad wickets.", "'Not to watch. To play. An urgent summons I need not say. Nothing but\nan urgent summons could have wrenched him from your very delightful\nsociety, I am sure.'\n\nMr Gregory glared.", "remember it distinctly. He'll be playing for England in another year or\ntwo. Fancy putting a cricketer like that into the City! It's a crime.'", "A distant appeal and a sound of clapping from the crowd broke in on his\nthoughts. Mills was out, caught at the wicket. The telegraph-board gave", "Mike waited till the outcoming batsman had turned in at the\nprofessionals' gate. Then he walked down the steps and out into the", "playing croquet. He patted it gingerly back to the bowler when it was\nstraight, and left it icily alone when it was off the wicket. Mike,", "'It is perfectly absurd,' said Mr Rossiter, 'that you should waste the\nbank's time in this way. The bank pays you to work, not to talk about\nprofessional football.'", "meeting ball, 'cricket seems still to be topping the bill. Come along,\nand I'll show you your room. It's next to mine, so that, if brooding on", "'Well,' he said at last, 'hang me if I blame the boy. It's a sin\ncooping up a fellow who can bat like that in a bank. I should have done\nthe same myself in his place.'" ], [ "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "was booming. Mike had written to him by return, telling him of the\ndisaster which had befallen the house of Jackson. Mike wished he could\nhave told him in person, for Psmith had a way of treating unpleasant", "Mike, separated from Psmith by the movement of the crowd, listened with\na growing depression. That feeling which attacks a sensitive person\nsometimes at the theatre when somebody is making himself ridiculous on", "Dashing away from the call-box, Mike nearly cannoned into Psmith, who\nwas making his way pensively to the telephone with the object of\nringing up the box office of the Haymarket Theatre.", "The hostility of Mr Bickersdyke was a slight drawback. Psmith had\ndeveloped a habit of taking Mike with him to the club of an evening;", "'I'm going to bed,' said Mike, rising.\n\nPsmith watched him lounge from the room, and shook his head sadly. All\nwas not well with his confidential secretary and adviser.", "Mike shut his ledger with a vicious bang, and went across to find\nPsmith. He was glad the day was over.\n\n\n\n\n20. Concerning a Cheque", "distinctly brusque. Mike was thoroughly puzzled. To Psmith's statement,\nthat he had talked the matter over quietly with the manager and brought\nthings to a satisfactory conclusion, he had paid little attention. But", "'What? Do you mean to say--?'\n\nPsmith related briefly the history of Mike's departure.\n\nMr Smith listened with interest.", "Psmith shot an inquiring glance at him, but said nothing. This\nrestlessness of Mike's was causing him a good deal of inconvenience,", "popping out of his lair at intervals of three minutes, to see whether\nthey had returned. Constant disappointment in this respect had rendered\nhim decidedly jumpy. When Psmith and Mike reached the desk, he was a", "with a yell, but Psmith was there before him. Mike saw his assailant\nlift the stick again, and then collapse as the old Etonian's right took\nhim under the chin.", "Mr Rossiter had discovered Psmith's and Mike's absence about five\nminutes after they had left the building. Ever since then, he had been", "The other two attacked Psmith simultaneously, one on each side. In\ndoing so, the one on the left tripped over Mike and Bill, who were", "Psmith handed him the volume, and, leaning back, sipped his coffee, and\nwatched him. At first Mike's face was bored and blank, but suddenly an\ninterested look came into it.", "Psmith screwed his eyeglass into his eye, and examined Mike carefully.\n\n'What exactly--?' be began.\n\n'Tell the old ass I've popped off.'", "Psmith called for the bill and paid it in the affable manner of a\nmonarch signing a charter. Mike sat silent, his mind in a whirl. He saw", "'I say,' interrupted Mike, eyeing Psmith's movements with apprehension,\n'you aren't going to drive, are you?'", "Psmith, meanwhile, was not enjoying himself. It was an unheard-of\nthing, he said, depriving a man of his confidential secretary without\nso much as asking his leave.", "'What the dickens have you been playing at?' demanded Mike.\n\nPsmith heaved a sigh." ], [ "'Manchester United.'\n\n'And Comrade Rossiter, I should say, was a Manchester man.'\n\n'I believe he is.'", "Mr Bickersdyke turned away. He was a conscientious bank manager, and\none can only suppose that Mr Rossiter's tribute to the earnestness of", "worlds. However, we shall soon know,' he added, as they passed into the\nbank and walked up the aisle, 'for there is Comrade Rossiter waiting to\nreceive us in person.'", "aisle. No movement came from Mr Rossiter's lair. Its energetic occupant\nwas hard at work. They could just see part of his hunched-up back.", "'This is unfortunate,' he said, smoothing his hair. 'You see, Comrade\nBannister, it is this way. In the course of my professional duties, I\nfind myself continually coming into contact with Comrade Rossiter.'", "opinion of Meredith, was England's leading politician. These facts,\nimparted to and discussed with Mr Rossiter, made the progress of the", "desk, Bannister especially, were amazed at the change that had come\nover Mr Rossiter. He no longer darted from his lair like a pouncing", "As he spoke, there was a whirring noise in the immediate neighbourhood,\nand Mr Rossiter buzzed out from his den with the _esprit_ and\nanimation of a clock-work toy.", "'Exactly. In those interviews to which you have alluded, how did you\namuse, entertain Comrade Rossiter?'\n\n'I didn't. He used to do all the talking there was.'", "'That's a sample of Rossiter,' he said. 'You'd think from the fuss he's\nmade that the business of the place was at a standstill till we got to", "Mr Rossiter turned in from the central aisle through the counter-door,\nand, observing the conversational group at the postage-desk, came\nbounding up. Bannister moved off.", "'It is perfectly absurd,' said Mr Rossiter, 'that you should waste the\nbank's time in this way. The bank pays you to work, not to talk about\nprofessional football.'", "Mr Rossiter stumped off to his desk, where he sat as one in thought.\n\n'Smith,' he said at the end of five minutes.", "'I--' began Mr Rossiter.", "'What Smith wants to know,' said Mike, 'is whether Rossiter has any\nhobby of any kind. He thinks, if he has, he might work it to keep in\nwith him.'", "He touched the bell again, and sent for Mr Rossiter.", "'H'm. I have only your word for it.' He turned to Mr Rossiter, who had\nnow recovered himself, and was as nearly calm as it was in his nature\nto be. 'Do you find Mr Smith's work satisfactory, Mr Rossiter?'", "Psmith slid from his stool, and made his way deferentially towards him.\n\n'Bannister's a fool,' snapped Mr Rossiter.\n\n'So I thought,' said Psmith.", "my exclusive attention. I give Comrade Bristow up. Made straight for\nthe corner flag, you understand,' he added, as Mr Rossiter emerged from", "'That little more,' sighed Psmith, 'and how much is it!'\n\n'Who are you?' snapped Mr Rossiter, turning on him.\n\n'I shall be delighted, Comrade--'" ], [ "made his gorge rise to see him exposing himself to the jeers of a\ncrowd. The fact that Mr Waller himself did not know that they were", "There is one thing which will always distract the attention of a crowd\nfrom any speaker, and that is a dispute between two of its units. Mr\nWaller's views on temperance were forgotten in an instant. The audience\nsurged round Mike and his opponent.", "had been to him a sort of spectre at the feast inspiring him with an\never-present feeling of discomfort which he had found impossible to\nshake off. And tonight he saw his way of getting rid of him.", "Mr Waller paused momentarily before renewing his harangue. The man in\nthe cloth cap raised his hand. There was a swirl in the crowd, and the", "engaging Bill in combat. He had an uneasy feeling that Mr Waller's\ngratitude would be effusive and overpowering, and he did not wish to", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "concerned, was at an end. On the other hand--! Here Mr Waller was\nhauled over the coals for Incredible Rashness in allowing a mere junior", "Mr Waller intervened at this point.\n\n'I think you must really let Jackson go on with his work, Smith,' he\nsaid. 'There seems to be too much talking.'", "Mr Waller looked with interest at Mike, who shuffled and felt awkward.\nHe was hoping that Psmith would say nothing about the reason of his", "to the speakers was one of Clapham's fashionable Sunday amusements. Mr\nWaller talked and gesticulated incessantly as he walked. Psmith's", "The first intimation Mike had of this was a violent blow across the\nshoulders with a walking-stick. Even if he had been wearing his", "'Why,' he said.\n\n'It was a forgery,' muttered Mr Waller, sitting down heavily.", "The latter had scrambled to his feet now, and was looking round for his\nassailant.\n\n'That's 'im, Bill!' cried eager voices, indicating Mike.", "Mr Waller was waiting for them by the railings near the pond. The\napostle of the Revolution was clad soberly in black, except for a tie", "like water rushing over a weir. Every now and then there was a word or\ntwo which was recognizable, but this happened so rarely that it\namounted to little. Sometimes Mr Waller would interject a remark, but", "As Mr Waller came nearer, Mike saw that the cashier's face was deadly\npale.\n\nMr Waller caught sight of him and quickened his pace.\n\n'Jackson,' he said.", "'Come, come,' said Mr Waller disturbed. 'What's all this? What's all\nthis?'\n\nHis niece burst into tears and left the room.", "the stage--the illogical feeling that it is he and not the actor who is\nfloundering--had come over him in a wave. He liked Mr Waller, and it", "Bickersdyke was as fruity a Socialist as Comrade Waller is now. Only,\napparently, as he began to get on a bit in the world, he altered his", "Comrade Prebble seemed slightly taken aback. There was an awkward\npause. Then Mr Waller, for whom his fellow Socialist's methods of\nconversation held no mysteries, interpreted." ], [ "'Just so, just so,' murmured Psmith, as one who assents to a thoroughly\nreasonable proposition. 'Tell him you have popped off. It shall be", "done. But it is within the bounds of possibility that Comrade Gregory\nmay inquire further. Could you give me some inkling as to why you are\npopping?'", "'You 'op it,' concluded the man in blue. 'That's what you do. You 'op\nit.'", "popping out of his lair at intervals of three minutes, to see whether\nthey had returned. Constant disappointment in this respect had rendered\nhim decidedly jumpy. When Psmith and Mike reached the desk, he was a", "This maddened Mike. He assumed the offensive. Bill, satisfied for the\nmoment with his success, had stepped back, and was indulging in some", "'I should jolly well think I had,' said Bannister with a laugh. 'He saw\nto that. He was always popping out and cursing me about something.'", "'How can we switch off the flow? I don't see. The man is wound up. He\nmeans to get it off his chest if it snows. I feel we are by way of", "enemy, he proceeded to smite him in the parts about the jaw. He had\njust upset him, when a stern official voice observed, ''Ere, now,\nwhat's all this?'", "'I went talking on, laughing and joking, when all of a sudden she flew\nout at me. How was I to know she was 'eart and soul in the movement?\nYou never told me,' he added accusingly to his host.", "Then, quite suddenly, an idea came to him. The whole pressure of the\natmosphere seemed to lift. He saw a way out. It was a curious crooked", "'Off his onion,' said William, soaring a trifle higher in poetic\nimagery.", "Mr Bickersdyke resumed his speech. But the fire had gone out of it. He\nhad lost his audience. A moment before, he had grasped them and played", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "a verbal vent in catch phrases and expends itself physically in\nsmashing shop-windows and kicking policemen. He feared that the meeting\nat the Town Hall might possibly be a trifle rowdy.", "'Whew!' he said, mopping his brow. 'That's the sort of thing which\ngives me the pip. When William came and said old Bick wanted to see me,", "he flung down his pen, slid from his stool with a satisfied sigh, and\ndusted his waistcoat. 'A commercial crisis,' he said, 'has passed. The", "His mouth was full when Comrade Prebble asked him a question. Comrade\nPrebble, as has been pointed out in an earlier part of the narrative,\nwas a good chap, but had no roof to his mouth.", "In reality, however, the bonneting is due to weeks of daily encounters\nwith the constable, at each of which meetings the dislike for his\nhelmet and the idea of smashing it in grow a little larger, till", "been, compared with his present frame of mind, that of a rather\nexceptionally good-natured lamb. Within ten minutes of his arrival the\nentire office was on the jump. The messengers were collected in a", "me\" series. Because I fancy that, in an emergency, it may not be at all\na bad thing to have about me. And now,' he concluded, 'as the hour is" ], [ "enemy, he proceeded to smite him in the parts about the jaw. He had\njust upset him, when a stern official voice observed, ''Ere, now,\nwhat's all this?'", "had been to him a sort of spectre at the feast inspiring him with an\never-present feeling of discomfort which he had found impossible to\nshake off. And tonight he saw his way of getting rid of him.", "The sight acted on Mike like a spur. Vague rage against nobody in\nparticular had been simmering in him for half an hour. Now it\nconcentrated itself on the cloth-capped one.", "This maddened Mike. He assumed the offensive. Bill, satisfied for the\nmoment with his success, had stepped back, and was indulging in some", "There is one thing which will always distract the attention of a crowd\nfrom any speaker, and that is a dispute between two of its units. Mr\nWaller's views on temperance were forgotten in an instant. The audience\nsurged round Mike and his opponent.", "The first intimation Mike had of this was a violent blow across the\nshoulders with a walking-stick. Even if he had been wearing his", "But now things had changed. The place had become a prison. With all the\nenergy of one who had been born and bred in the country, Mike hated", "The latter had scrambled to his feet now, and was looking round for his\nassailant.\n\n'That's 'im, Bill!' cried eager voices, indicating Mike.", "A short, stout man in a straw hat and a flannel suit was walking\ntowards them. As he came nearer Mike saw that he had a hard, thin-lipped", "As he stood near the doorway, one or two panting figures rushed up the\nsteps, and flung themselves at a large book which stood on the counter", "truculent. And when, as usually happened, it did trouble him, he was a\nperfect fountain of abuse. Mike and he hated each other from the first.", "In reality, however, the bonneting is due to weeks of daily encounters\nwith the constable, at each of which meetings the dislike for his\nhelmet and the idea of smashing it in grow a little larger, till", "He was loathing the whole business with a heartiness worthy of a better\ncause. Somehow, he felt he was going to be made to look a fool before", "This was what happened in Mike's case. Day by day, through the summer,\nas the City grew hotter and stuffier, his hatred of the bank became", "Edward was Mr Waller's son. He was ten years old, wore a very tight\nEton suit, and had the peculiarly loathsome expression which a snub\nnose sometimes gives to the young.", "long that it had begun to hypnotize him. Also, the move had the\nexcellent result of eliminating the snub-nosed Edward, who was sent to", "Focusing his attention with some reluctance upon this blot on the\nhorizon, he discovered that the exploiter of rainbow waistcoats and\nsatin ties was addressing him.", "The days passed slowly, and the cricket season began. Instead of being\na relief, this made matters worse. The little cricket he could get only\nmade him want more. It was as if a starving man had been given a\nhandful of wafer biscuits.", "Then, quite suddenly, an idea came to him. The whole pressure of the\natmosphere seemed to lift. He saw a way out. It was a curious crooked", "patience had helped him through. But with Mr Gregory it was different.\nMike hated being shouted at. It confused him. And Mr Gregory invariably" ], [ "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "He broke off. Mr Jackson did not seem to be attending. There was a\nsilence. Then Mr Jackson spoke with an obvious effort.\n\n'Look here, Mike, we've always understood one another, haven't we?'", "away from Wrykyn and sending him to Sedleigh. The resemblance was\nincreased by the fact that, as Mike entered, Mr Jackson was kicking at", "was booming. Mike had written to him by return, telling him of the\ndisaster which had befallen the house of Jackson. Mike wished he could\nhave told him in person, for Psmith had a way of treating unpleasant", "in inducing Mr Mike Jackson--(sensation)--to--er--in fact, to join the\nstaff!' (Frantic cheers, in which the chairman joined.)", "But now things had changed. The place had become a prison. With all the\nenergy of one who had been born and bred in the country, Mike hated", "'Jackson,' said Mike. It was irritating, this assumption on Mr\nBickersdyke's part that they had never met before.\n\n'Jackson? Ah, yes. You have joined the staff?'", "and, at intervals, take them down to the post office at the end of the\nstreet. The nature of the work gave Mike plenty of time for reflection.", "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "This was what happened in Mike's case. Day by day, through the summer,\nas the City grew hotter and stuffier, his hatred of the bank became", "The movement broke the tension.\n\n'Thanks, Mike,' said Mr Jackson, as Mike started to leave the room,\n'you're a sportsman.'", "The department into which Mike was sent was the Cash, or, to be more\nexact, that section of it which was known as Paying Cashier. The", "'But I can't help it,' continued Mr Jackson.\n\n'Aren't I going up to Cambridge, father?' stammered Mike.", "Considering what a prominent figure Mr John Bickersdyke was to be in\nMike Jackson's life, it was only appropriate that he should make a", "The other event which altered Mike's life in the bank was his removal\nfrom Mr Waller's department to the Fixed Deposits. The work in the", "'I need you, Comrade Jackson,' he said, when Mike lodged a protest on\nfinding himself bound for the stalls for the second night in", "some departments. The cashier seemed to have taken a fancy to Mike; and\nMike, as was usually the way with him when people went out of their way", "'Sit down, Mike,' said Mr Jackson. 'How did you get on during the\nweek?'" ], [ "Mike rather liked this way of putting it. It lent a certain dignity to\nthe proceedings, making him feel like some important person for whose", "'It's awfully good of you,' said Mike. He felt very grateful. After his\nexperience of London, it was a pleasant change to find someone who\nreally seemed to care what happened to him. His heart warmed to the\nbenevolent man.", "He buzzed back to his lair. Bannister grinned at Mike. He was a\ncheerful youth. His normal expression was a grin.", "Mike flung himself down on the turf with mixed feelings. He was sorry\nJoe was out, but he was very glad indeed of the chance of a rest. He", "All of which emotions, taken simultaneously, had the effect of\nrendering him completely dumb when he saw Mike. He felt that he did not", "Mingled with the relief were sympathy for Mike, gratitude to him for\nhaving given himself up so promptly, and a curiously dazed sensation,\nas if somebody had been hitting him on the head with a bolster.", "For nearly two hours Mike had been experiencing the keenest pleasure\nthat it had ever fallen to his lot to feel. From the moment he took his", "So Mike stood by him.", "He rose. Mike followed his example with alacrity. It occurred to Mr\nBickersdyke, as they turned to go, that he had not yet been able to get", "It seemed to Mike, when he got home, that there was a touch of gloom in\nthe air. His sisters were as glad to see him as ever. There was a good", "having found an ally. The gnawing loneliness had gone. He did not look\nforward to a career of Commerce with any greater pleasure than before;", "minutes' acquaintance with Edward, Mike felt strongly that Mrs Waller\nwas the lucky one. Edward sat next to Mike, and showed a tendency to", "Mike turned the pages, reading a line or two on each.\n\n'Hullo!' he said, chuckling. 'He lets himself go a bit, doesn't he!'", "'Yes, what about him?' said Mike. 'You'll have a pretty tough job\nturning him into a friendly native, I should think. How do you mean to\nstart?'\n\nPsmith regarded him with a benevolent eye.", "Mike was not busy. He had worked off the last batch of letters, and\nthere was nothing to do but to wait for the next, or--happy thought--to", "Mike almost laughed. The situation was tickling him.\n\n'Mr Waller has told me--' he began.\n\n'I have already seen Mr Waller.'", "As far as Mike's personal comfort went, the presence of these two\nWrykinians was very much for the good. Both of them knew all about his", "This maddened Mike. He assumed the offensive. Bill, satisfied for the\nmoment with his success, had stepped back, and was indulging in some", "Possibly it was the excellence of this advice which induced Mike to\nplay what was, to date, the best innings of his life. There are moments", "'Well,' said Mike, with a grin, 'I know one person who'll jolly well\ndistort your motives, as you call it, and that's Bickersdyke.'\n\nPsmith looked thoughtful." ], [ "As it happened, that was precisely what Mr Bickersdyke was doing. He\nwas feeling thoroughly pleased with life. For nearly nine months Psmith", "Psmith nodded in silence, went to his bedroom, and returned with a\nlooking-glass. Propping this up on a table, he proceeded to examine", "A vendor of newspapers came to the cab thrusting an evening paper into\nthe interior. Psmith bought it.", "The happy thought struck him of consulting Psmith. It was his hour for\npottering, so he pottered round to the Postage Department, where he", "Psmith fumbled in his pocket and produced his eye-glass, through which\nhe examined the waiter, button by button.\n\n'I am Psmith,' he said simply.\n\n'A member, sir?'", "It was not till he was resting on his sofa, swathed from head to foot\nin a sheet and smoking a cigarette, that he realized that Psmith was\nsharing his compartment.", "Psmith, who had waited patiently with him, though his own work was\nfinished, accompanied him down to the post office and back again to the\nbank to return the letter basket; and they left the office together.", "Psmith was the first to recover. Mr Rossiter was still too confused for\nspeech, but Psmith took the situation in hand.", "Psmith called for the bill and paid it in the affable manner of a\nmonarch signing a charter. Mike sat silent, his mind in a whirl. He saw", "There was applause.\n\nWhen it had ceased, Psmith rose to his feet again.\n\n'Excuse me,' he said.", "But Mr Bickersdyke had gone. He had melted silently away like the\ndriven snow.\n\nPsmith took his place at the table.", "Psmith, who had been listening with an air of pleased interest, much as\na father would listen to his child prattling for the benefit of a\nvisitor, confirmed this statement.", "Two minutes later, Mr Rossiter was sitting at his desk with a dazed\nexpression, while Psmith, perched gracefully on a stool, entered\nfigures in a ledger.", "Out of office-hours he enjoyed himself hugely. London was strange to\nhim, and with Psmith as a companion, he extracted a vast deal of", "exactly what had happened. He could almost hear Psmith talking his\nfather into agreeing with his scheme. He could think of nothing to say.\nAs usually happened in any emotional crisis in his life, words", "Psmith, accompanied by an attendant, appeared in the doorway, and\nproceeded to occupy the next sofa to himself. All that feeling of\ndreamy peace, which is the reward one receives for allowing oneself to", "On the fourth day Psmith made his first remark. The manager was reading\nthe evening paper in a corner, when Psmith sinking gracefully into a\nchair beside him, caused him to look up.", "Psmith handed him the volume, and, leaning back, sipped his coffee, and\nwatched him. At first Mike's face was bored and blank, but suddenly an\ninterested look came into it.", "Psmith's first action was to summon a waiter, and order a glass of neat\nbrandy. 'Not for myself,' he explained to Mike. 'For Comrade", "Psmith found him a quarter of an hour later in the card-room. He sat\ndown beside his table, and began to observe the play with silent" ], [ "There is one thing which will always distract the attention of a crowd\nfrom any speaker, and that is a dispute between two of its units. Mr\nWaller's views on temperance were forgotten in an instant. The audience\nsurged round Mike and his opponent.", "As regarded Mr Waller, Mike liked him personally, and was prepared, as\nwe have seen, to undertake considerable risks in his defence; but he", "Mr Waller looked with interest at Mike, who shuffled and felt awkward.\nHe was hoping that Psmith would say nothing about the reason of his", "Mike went. Mr Waller was still sitting staring out across the aisle.\nThere was something more than a little gruesome in the sight of him. He", "Mike could not make it out. He did not like to ask if there was\nanything the matter. Mr Waller's face had the unreasonable effect on", "'Comrade Waller means well,' said a voice in Mike's ear, 'but if he\nshoots it at them like this much more there'll be a bit of an\nimbroglio.'", "As Mr Waller came nearer, Mike saw that the cashier's face was deadly\npale.\n\nMr Waller caught sight of him and quickened his pace.\n\n'Jackson,' he said.", "Mike almost laughed. The situation was tickling him.\n\n'Mr Waller has told me--' he began.\n\n'I have already seen Mr Waller.'", "On returning to the bank, Mike found Mr Waller in the grip of a\npeculiarly varied set of mixed feelings. Shortly after Mike's departure", "substitute for him, and cash cheques; but Mr Waller always went out at\na slack time, when few customers came in, and Mike seldom had any very\nstartling sum to hand over.", "minutes' acquaintance with Edward, Mike felt strongly that Mrs Waller\nwas the lucky one. Edward sat next to Mike, and showed a tendency to", "The time crept slowly on to one o'clock. At two minutes past Mike awoke\nfrom a day-dream to find Mr Waller standing by his side. The cashier\nhad his hat on.", "'He's a blighter,' was Mike's verdict. Mr Waller made no comment. Mike\nwas to learn later that the manager and the cashier, despite the fact", "Comrade Prebble seemed slightly taken aback. There was an awkward\npause. Then Mr Waller, for whom his fellow Socialist's methods of\nconversation held no mysteries, interpreted.", "important task of shooting doubloons across the counter did not belong\nto Mike himself, but to Mr Waller. Mike's work was less ostentatious,", "Mr Waller intervened at this point.\n\n'I think you must really let Jackson go on with his work, Smith,' he\nsaid. 'There seems to be too much talking.'", "and was performed with pen, ink, and ledgers in the background.\nOccasionally, when Mr Waller was out at lunch, Mike had to act as", "The other man was talking into a telephone. Mike waited till he had\nfinished. Then he coughed. The man turned round. Mike had thought, as", "'Not much,' grinned Mike. 'They were too busy with us. All right, I'll\ncome if you really want me to, but it's awful rot.'", "'Oh, that's all right,' said Mike thickly. There seemed to be something\nsticking in his throat, preventing him from speaking.\n\n'If there was any possible way--'" ], [ "The glass remaining Set Fair as far as Mr Rossiter's approval was\nconcerned, Mike was enabled to keep off the managerial carpet to a\ngreat extent; but twice, when he posted letters without going through", "Till now Mike had been completely at a loss to understand why the\nmanager had sent for him on the morning following the scene about the", "that there would be trouble. But, then, trouble is such an elastic\nword. It embraces a hundred degrees of meaning. Mike had expected\nsentence of dismissal, and he had got it. So far he had nothing to", "This state of things was too good to last. Towards the beginning of the\nNew Year a new man arrived, and Mike was moved on to another\ndepartment.", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "'Oh, that's all right,' said Mike thickly. There seemed to be something\nsticking in his throat, preventing him from speaking.\n\n'If there was any possible way--'", "cheque, and informed him that he had reconsidered his decision to\ndismiss him. Mike could not help feeling that there was more in the", "playing for the county, he was given to understand by his employer that\nthat was his chief duty. It never occurred to him that Mike might find\nhis bank less amenable in the matter of giving leave. His only fear,", "So Mike stood by him.", "By this time Mike had grown so used to his work that he could tell to\nwithin five minutes when a rush would come; and he was able to spend a", "He listened gravely while Mike related the incidents which had led up\nto his confession and the results of the same. At the conclusion of the\nnarrative he sipped his coffee in silence for a moment.", "interfere with his appreciation of the cashier's state of mind. Mike's\nwas essentially a sympathetic character. He had the gift of intuitive\nunderstanding, where people of whom he was fond were concerned. It was", "Mike did not like being in the bank, considered in the light of a\ncareer. But he bore no grudge against the inmates of the bank, such as", "During the following fortnight, two things happened which materially\naltered Mike's position in the bank.", "stood. He could not ask Mike point-blank whether he had been dismissed.\nBut there was the probability that Psmith had been informed and would\npass on the information.", "omitted to disgorge their letters till the last moment. Mike as he grew\nfamiliar with the work, and began to understand it, used to prowl round\nthe other departments during the afternoon and wrest letters from them,", "know what to say to him. And as Mike, for his part, simply wanted to be\nlet alone, and not compelled to talk, conversation was at something of\na standstill in the Cash Department.", "This was what happened in Mike's case. Day by day, through the summer,\nas the City grew hotter and stuffier, his hatred of the bank became" ], [ "Mike's mind roamed into the future. Cambridge first, and then an\nopen-air life of the sort he had always dreamed of. The Problem of", "'It shall be done. Good-bye.'\n\n'Good-bye.'\n\nMike replaced the receiver, and went up to his balcony again.", "naturally to a life of commerce. Mike was not of these. To him the\nrestraint of the business was irksome. He had been used to an open-air", "His voice died away. There was a silence. Mike sat staring miserably in\nfront of him.", "lose my place. I shall be dismissed.' He was talking more to himself\nthan to Mike. It was dreadful to see him sitting there, all limp and\nbroken.", "Mike looked at him blankly. This could only mean one thing. He was not\nto go to the 'Varsity. But why? What had happened? When he had left for", "and, at intervals, take them down to the post office at the end of the\nstreet. The nature of the work gave Mike plenty of time for reflection.", "Mike said yes, he supposed so. After which, having put down seven and\nsixpence, one week's rent in advance, he was presented with a grubby", "Psmith's injunction to him not to talk much was unnecessary. Mike, as\nalways, was rendered utterly dumb by the sight of suffering. He sat at\nhis desk, occupying himself as best he could with the driblets of work\nwhich came to him.", "Mike turned the pages, reading a line or two on each.\n\n'Hullo!' he said, chuckling. 'He lets himself go a bit, doesn't he!'", "afterwards he had skimmed away again. Mike, as he watched him, began to\nappreciate Psmith's reasons for feeling some doubt as to what would be\nhis future walk in life.", "to Mike his intention of leaving the bank as soon as he had made a\nname, and taking seriously to the business. He told him that he had\nknocked them at the Bedford the week before, and in support of the", "Mike was not busy. He had worked off the last batch of letters, and\nthere was nothing to do but to wait for the next, or--happy thought--to", "which he bore in patient silence, hoping for better times. With Mike\nobviously discontented and out of tune with all the world, there was\nbut little amusement to be extracted from the evenings now. Mike did", "'Not at all.' He ambled off on the quest which Mike had interrupted,\nturning, as he went, to bestow a mild smile of encouragement on the new", "Mike did not like being in the bank, considered in the light of a\ncareer. But he bore no grudge against the inmates of the bank, such as", "'I'm going to bed,' said Mike, rising.\n\nPsmith watched him lounge from the room, and shook his head sadly. All\nwas not well with his confidential secretary and adviser.", "'Oh, then you'll be finished in a moment. When you are, I wish you'd\njust look into the study for a moment, Mike. I want to have a talk with\nyou.'", "While Mike was changing, Psmith sat on his bed, and continued to\ndiscourse.\n\n'I suppose you're going to the 'Varsity?' he said.", "He listened gravely while Mike related the incidents which had led up\nto his confession and the results of the same. At the conclusion of the\nnarrative he sipped his coffee in silence for a moment." ] ]

[ "What does Psmith use to blackmail Mr. Bickersdyke?", "Why is Mike fired from his job at the bank?", "What is Mike's dream for his future?", "What does Psmith use to befriend Mr. Rossiter?", "Why does Mike's brother Joe call him?", "Where does Mike go to live after leaving his Dulwich room?", "What happens when Mike and Psmith go to hear Mr. Waller speak?", "Why are Mike and Psmith able to quit their jobs at the end of the story?", "Why is Mr. Bickersdyke angry at the end of the story?", "Where does Jackson dream of playing at?", "Where does Mike rent a room?", "Who insists that mike move in with him?", "Who do Mike and Psmith seek a meens of pacifying?", "What does Waller reveal to Mike?", "What does Walter fail to spot?", "Who trails Bickersdyke?", "Who is Mike's brother?", "Who does not approve of people leaving to pay cricket?", "Who is enraged at Mike and Psmith's retirement?", "What association is Mr Rossiter devoted to?", "Why did the spectator try to throw a stone at Waller?", "In the story what is \"pop off\"mean?", "Who was the antagonist in this story?", "Where did Mike Jackson have to take a job at?", "Why does Mike feel happy having an ally?", "What was the item Psmith acquired?", "What distraction caused Mike to cover for Waller?", "What prevented Mike from losing his job?", "What is Mike going to study,as he quits his job?" ]

[ [ "He uses a book of proceedings of the \"Tulse Hill Parlaiment\".", "the anti-royalty speeches" ], [ "He takes the blame for Waller's mistake.", "Because he took the blame for Waller's mistake." ], [ "He wants to go to Cambridge and play cricket.", "Studying and playing cricket at Cambridge. " ], [ "Mr. Rossiter's love of association football.", "learns that he is a football fan" ], [ "Joe's cricket team is a man short and he needs Mike to play.", "To play with them for their county at Lord's." ], [ "He moves in with Psmith at Clement's Inn.", "To live with Psmith at Clement's Inn" ], [ "A spectator throws a rock at Mr. Waller and a fight breaks out.", "Someone throws a stone at Mr. Waller and a fight erupts" ], [ "Psmith's father agrees to send Psmith and Mike to school.", "Psmith plans to study law at Cambridge and Mike is able to work for Psmith's father as a real estate agent" ], [ "Mike and Psmith quit their jobs before he can fire them.", "Because Psmith announces their retirement." ], [ "Cambridge", "Cambridge." ], [ "Dulwich", "Dulwich" ], [ "Psmith", "Psmith" ], [ "Manager Rossiter", "Mr. Rossiter" ], [ "He is an ardent socialist", "He is an ardent Socialist." ], [ "A forged Check", "A forged check." ], [ "Psmith", "Psmith" ], [ "Joe", "Joe" ], [ "The Bank", "The bank." ], [ "Bickersdyke", "Mr. Bickersdyke" ], [ "To football and Manchester United.", "Association Football" ], [ "Waller was an ardent socialist.", "Because Waller reveals he is an ardent socialist." ], [ "It means it was time for them to leave.", "leave work early" ], [ "Mr Bickersdyke.", "Psmith" ], [ "The New Asiatic Bank.", "New Asiatic Bank" ], [ "Psmith announces his plan to toy with Bickersdyke outside of work,where Mike feels the same.", "He was worried their employer had it in for the both of them" ], [ "Waller's book Tulse Hill Parliament.", "Walter's book of proceedings of the Tulse Hill Parliament." ], [ "Waller found out his son was ill and missed a forged cheque, Mike covered for him and was fired and roasted by Bickersdyke.", "Waller's son being ill." ], [ "Psmith threatened Bickersdyke that he would leak anti-royal speches form Tulse Hill Parliament book,so furious Bickersdyke keeps Mike on.", "Psmith threatens to tell about the the speeches" ], [ "To study law at Cambridge.", "Business" ] ]

[ [ "BARRY\n Please don't tell my sisters.\n\n CUT TO:\n\nINT. BARRY'S APARTMENT - LATER", "Barry's SEVEN SISTERS are all there, preparing dinner and\ntalking away....they turn and see him;", "CUSTOMER\n How many sisters do you have?\n\n BARRY\n ....I have seven.", "SUSAN\n Why did you have it?\n\nAnother sister, RHONDA, enters from behind, Barry jumps, says:", "BARRY\n It's fine. It was fun, though.\n\n LENA\n It must be weird for you to have so\n many sisters?", "Barry and the boys are prepping some boxes for shipping.\nErnesto walks over, says;\n\n ERNESTO\n Barry, your sister's here.", "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "BARRY\n Yes.\n LENA\n Elizabeth has a picture of you\n guys -- your sisters and you, it's\n a lot of family, it must be nice.", "BARRY\n Do you have brothers or sisters?\n\n LENA\n No. I'm the exact opposite --", "BARRY\n I don't, no matter what my sisters\n say, ok?\n\n LENA\n ...I don't know what you mean....", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "BARRY\n Sorry about that.\n\n CUSTOMER\n I didn't know you had a sister?", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "He backs away, then steps OUT OF FRAME...a moment later\nELIZABETH (his sister) and LENA (from the opening) enter the\nwarehouse, walking towards Barry;", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "Rico turns around, without loudspeaker;\n\n RICO\n Barry, your sister is on line one.\n\nThey look at him a moment....", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;" ], [ "Dean also seems to own a mattress/furniture store in Provo.\nSomebody walks towards him, says:\n\n WORKER\n Dean, line one....", "DEAN is in a back room, he's getting his hair cut by\nLATISHA.....he turns and looks at Barry, who stands there\nwith the phone in his hand.\n\nThey stare at each other.", "Barry hands him the phone.\n\nBarry exits.....as he's about to go out the doors, Dean\nscreams;", "DEAN\n You just told me to fuck off. That\n wasn't good. You're dead.\n\nDean hangs up the phone.", "Dean walks back to the phone and picks it up;\n\n DEAN\n Hello?", "DEAN\n ...keys for the track. You have to\n gas it up and save the receipts on\n that. His address. We have a", "DEAN\n Shut up, just put him on the phone,\n it doesn't matter, just shut up --", "He hangs up the phone and walks through his warehouse. It's\nfairly non-descript place, boxing materials, etc. Products", "DEAN\n I'm only paying two of you guys.\n\n DAVID\n That's cool.\n\n DEAN\n When can you leave?", "DEAN\n What did you say?\n\n LATISHA\n Nothing.\n\n DEAN\n Put him through.", "CUT TO:\nINT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATER", "DEAN\n Hey guys.\n\n DAVID/JIM/NATE\n Hey, Dean.\n\n LATISHA\n So they'll go.", "DEAN\n You wanna fuck around, asshole? You\n wanna get tough, wanna see me kick\n some motherfuck around here?", "DEAN\n Flinchy. That's what I thought.\n Shut up.\n (to Greg)", "DEAN\n CALM DOWN SHUT THE FUCK UP AND CALM\n DOWN SHUT SHUT SHUT UP SHUT UP --\n\nThey stop screaming. Then:", "DAVID\n Right now.\n\n LATISHA\n Let's go talk to Dean.\n\n CUT TO:", "INTERCUT:\n\nINT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENT", "me and two men just chased me --\n extorted money --\n DEAN\n Go fuck yourself that shit doesn't", "is The Phone Sex Area; a GIRL on the phone. (We hear bits of\nher call, e.g. \"Me? I'm in Florida. Laying on my bed.\")", "BARRY\n Hello, my name is Barry Egan and I\n called your service --\n\n DEAN\n Why don't you shut the fuck up?" ], [ "Barry turns and sees Lena's head has been injured.....he\nlooks behind and sees TWO OF THE BROTHERS EMERGING FROM THE\nCAR.....\n\n.....he gets out quick, heads right for them....", "MIKE D\n You don't challenge what my\n brother's saying, you don't say\n that --\n\n....Barry makes a mad run for it.....", "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "....it's a mess of VIOLENCE and BRAWLING and Barry seems to\nget the best of both NATE and MIKE D......the two other\nbrothers half get involved/stay in the car.....", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "They grab the money from his pockets as they hold him down\non the ground;\n\n BARRY\n It's three hundred and twenty\n dollars, just take it.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "Barry goes to his knees and unlatched the bellows. He pumps\nthe bellow, reaches up, presses a note, and another...then", ".....Barry flinches a little, stares.....the JEEP sits idle\nfor a moment....then it drives off....then:", "It's a little bit later and Barry stands in his bathroom,\nwashes his face....HOLD....then he dries his face, walks\ninto his bedroom, gets into bed wearing T-shirt and", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "Barry drops the phone to the ground, spins around and PUTS\nHIS FIST THROUGH THE WALL.....then drops down, lower his\nhead. CAMERA HOLD CU. as he stops himself, tries to breath;", "BARRY\n YOU FUCK OFF. YOU FUCK OFF AND DIE\n I WILL HURT YOU FOR HURTING HER.\n YOU HURT HER.", "....Barry spins around, scared shitless, sees: LANCE, who\nenters the warehouse, Barry rushes out to greet him;\n\n LANCE\n Hey, good morning, Barry.", "Barry goes into his office and looks at the Harmonium. BEAT.\nHe presses some keys, makes a little more noise with it. (a\nquarter of some sort of melody starts here...)", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry hands him the phone.\n\nBarry exits.....as he's about to go out the doors, Dean\nscreams;", "BARRY\n Ok. Have a good trip.\n\nThey do a shake hands/kiss on cheek goodbye." ], [ "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "BARRY\n I was, yeah, I was thinking about\n going there for business --\n\n LENA\n -- well, if you're gonna go --", "BARRY\n I have a better idea of where we\n can go.\n\n LENA\n Ok.\n\nThey walk some more.", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?", "CUT TO:\n\nINT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA\n\nSide by side on the return flight sit Lena and Barry.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "Lena and Elizabeth leave. CAMERA leads them as they walk;\nSound starts to drop out, we see Barry and the boys cleaning", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "...The Security Guard gives Barry some very complicated\ndirections....we follow/lead Barry as he makes his way\nthrough the maze/up elevators/down corridors looking for\nLena's apartment.....Finally, he arrives, knocks;", "BARRY\n Nothing.\n\n LENA\n What did he want?\n\n BARRY\n Nothing.\n\nThey walk a bit.", "BARRY\n We should go I think, I don't like\n it here.\n\n LENA\n Ok.\n\nThey head out of the restaraunt.", "LENA\n You think it's ok where I left it,\n right there?\n\n BARRY\n I think that'll be fine.", "BARRY\n Hello. Is Lena there?\n\n MAN'S VOICE\n You have the wrong room.\n\nHe hangs up. Barry dials the number again.", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later.", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her...." ], [ "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "BARRY\n Hi Walter.\n\n WALTER\n How's business?", "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "BARRY\n ...what the hell?\n\n CUT TO:\n\nINT. WAREHOUSE/BARRY'S OFFICE - MORNING", "BARRY\n I get really sick of myself sometimes.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - DAY", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "BARRY\n God Damn They're So Beautiful.\n\n CUT TO:\n\nINT. SUPERMARKET - DAY", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "CAMERA pushes in slow as Barry and Lance talk to TWO\nCUSTOMERS about the plungers which are on display in front\nof them. They speak all over each other doing shop talk, etc;", "BARRY\n -- excuse me.\n\nBarry walks back to the phone;\n\n BARRY\n This is Barry.", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "LANCE\n Yeah.\n\n BARRY\n That's funny.\n\n CUT TO:", "Barry and Lance exit the warehouse and get into Barry's car --\n\n CUT TO:\n\nINT. SMART AND FINAL - DAY", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY very casually pushes some papers aside and looks at\nthe ad...\n\nHOLD ON HIS FACE. He looks....then:", "CUT TO:\n\nINT. WAKIKI STREET/PHONE BOOTH - LATER\n\nBarry on the phone amid a crowd of people passing;", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;", "Barry is dressed for work in another suit now. He grabs some\nstuff and heads for the door when the phone rings;\n\n BARRY\n Hello?" ], [ "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "LENA\n Yeah?\n\n BARRY\n It's Barry.\n\n LENA\n HI. WHERE ARE YOU? ARE YOU HERE?", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;", "LENA\n (to Barry)\n It was great to meet you again. To\n see you again, thanks for helping\n me yesterday --\n\n BARRY\n Ok.", "LENA\n Do you know them.\n\n BARRY\n Not very well.", "BARRY\n How long have you known her?\n\n LENA\n About six months.\n\n BARRY\n You like her?", "LENA\n Well let's do something do you want\n to do something, can you meet me?\n\n BARRY\n You don't have a boyfriend or\n anything do you?", "INT. BARRY'S GARAGE - NIGHT\n\nIt's dark. The garage door opens and we see Barry and Lena\nin his car.....they're about to pull in....", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "BEAT. He's put on hold a moment, then it rings, then:\n\n LENA\n Hello?\n\n BARRY\n Lena?", "CAMERA pushes in slow towards Lena as she's on the\nphone....CAMERA pushes in on Barry as he sits across the\nroom, listening in his robe....They stare at each other the\nwhole time.....", "CUT TO:\n\nINT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA\n\nSide by side on the return flight sit Lena and Barry.", "CU. BARRY'S FACE. He looks to Lena. DRUM HIT LOUD. THEN\nAGAIN....THEN AGAIN....and we're in the score cue for....", "LENA\n It's so nice.\n\n BARRY\n This really looks like Hawaii here.\n\nThey look at each other. HOLD, THEN:", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;" ], [ "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "LENA\n Do you know them.\n\n BARRY\n Not very well.", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "BARRY\n How long have you known her?\n\n LENA\n About six months.\n\n BARRY\n You like her?", "LENA\n Yeah?\n\n BARRY\n It's Barry.\n\n LENA\n HI. WHERE ARE YOU? ARE YOU HERE?", "LENA\n (to Barry)\n It was great to meet you again. To\n see you again, thanks for helping\n me yesterday --\n\n BARRY\n Ok.", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "BEAT. He's put on hold a moment, then it rings, then:\n\n LENA\n Hello?\n\n BARRY\n Lena?", "LENA\n Well let's do something do you want\n to do something, can you meet me?\n\n BARRY\n You don't have a boyfriend or\n anything do you?", "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "BARRY\n Ok. So you were married for how long?\n\n LENA\n Do you want to meet me and talk\n about this stuff?", "LENA\n Ok.\n\n BARRY\n Alright?\n\n LENA\n ....Hi.....", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "ELIZABETH\n Hey. What are you doing?\n\n BARRY\n Nothing. I'm just at work and I'm\n wondering, you know your friend Lena?", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later.", "BARRY\n I know what you mean, I know what\n you mean, I get this feeling --\n\n LENA\n ...what...?", "BARRY\n Did you really come to meet me on\n purpose or are you lying about that?\n\n LENA\n No, no. I did.", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "LENA\n Do you want to pick me up?\n\n BARRY\n Sure." ], [ "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;", "Barry stands up fast, stumbles back a bit over some boxes,\nrecovers, ELIZABETH enters:", "BARRY\n Yeah, no, it's not, it's just --\n\n ELIZABETH\n I'm trying to be your friend.", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "ELIZABETH\n I'm just stopping by to say hello.\n\n BARRY\n Hello.", "BARRY\n I know.\n\n ELIZABETH\n I'm trying to get you a girlfriend.", "ELIZABETH\n No she didn't; that's a lie.\n\n BARRY\n I....please don't do this.", "BARRY\n Yeah, but please don't do that.\n\n ELIZABETH\n I'm not really asking you, I'm\n telling you.", "She leaves. Elizabeth heads for Barry's office;\n\nANGLE, BARRY on the phone\n\n SEXY VOICE\n Come on, I thought we had fun, rich\n boy --", "BARRY\n Well I don't want to do something\n like that.\n\n ELIZABETH\n She's my friend and you should meet\n her. You'd like her.", "ELIZABETH\n She couldn't come I said. Are you\n nervous?\n\n BARRY\n No.", "BARRY\n I didn't ask him that. He's lying.\n\n ELIZABETH\n You're being weird again, see. Come\n on. Please don't be weird.", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;", "BARRY\n Oh yeah no I don't want to do that.\n\n ELIZABETH\n Why?", "BARRY\n Please don't.\n\n ELIZABETH\n She's really cute and she's really\n nice.", "BARRY\n She is. I think, why did you come\n here like this?\n\n ELIZABETH\n It's not cool?", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;", "ELIZABETH\n Seriously, though: We're going to\n eat, I said.\n\n BARRY\n I'm sorry.", "BARRY\n Do you know where she's staying in\n Hawaii?\n\n ELIZABETH\n Oh My God, yeah, I know exactly\n where she is, why?", "BARRY\n Yeah I can't.\n\n ELIZABETH\n (at the crates)\n OH MY GOD. Look at that." ], [ "CUT TO:\n\nINT. LENA'S APARTMENT/HALLWAY - THAT MOMENT", "Lena is getting a bandage applied to her head by an intern.\nIt's very calm and she's very matter-of-fact as it happens.\nBarry stands nearby.....and OFFICER is asking her a few\nquestions;", "Lena gets into her car. Elizabeth keeps walking. She waits\nuntil Elizabeth is out of sight at the mouth of the driveway\nand then she gets back out of her car and walks straight\nback into the warehouse.", "....and we watch Lena answer the phone....", "LONG DISSOLVE TO:\n\nEXT/INT. LENA'S APARTMENT COMPLEX - EVENING", "LENA\n Yeah. Yeah we get along well.\n (beat)\n You didn't get along with her very\n well?", "HOLD on the back of Lena's head as she gets bandaged and\nquestioned.....\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - NIGHT", "LENA\n So here we go.\n\nCAMERA PUSHES IN AS MY KISS.", "Barry turns and sees Lena's head has been injured.....he\nlooks behind and sees TWO OF THE BROTHERS EMERGING FROM THE\nCAR.....\n\n.....he gets out quick, heads right for them....", "LENA\n Yeah.", "LENA\n Yeah.", "They take their shirts off.\n\n LENA\n Press together. It feels good.\n\nShe cups his face with her hands and tenses;", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "INT. RECEPTION AREA/LENA'S BUILDING", "LENA\n I know. I know. I know. I just\n wanna chew your face and scoop out\n your beautiful, beautiful eyes with", "LENA\n They were all blonde.", "LENA\n ...people are just crazy in this\n world, I think....\n\n POLICE\n ...and he came up on the driver\n side...", "Lena and Elizabeth leave. CAMERA leads them as they walk;\nSound starts to drop out, we see Barry and the boys cleaning", "He walks away, Lena turns to him;", "LENA\n The first man came on the driver\n side....\n\n POLICE\n ...right...the blonde one?" ], [ "BARRY\n Please don't tell my sisters.\n\n CUT TO:\n\nINT. BARRY'S APARTMENT - LATER", "Barry's SEVEN SISTERS are all there, preparing dinner and\ntalking away....they turn and see him;", "CUSTOMER\n How many sisters do you have?\n\n BARRY\n ....I have seven.", "SUSAN\n Why did you have it?\n\nAnother sister, RHONDA, enters from behind, Barry jumps, says:", "BARRY\n It's fine. It was fun, though.\n\n LENA\n It must be weird for you to have so\n many sisters?", "Barry and the boys are prepping some boxes for shipping.\nErnesto walks over, says;\n\n ERNESTO\n Barry, your sister's here.", "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "BARRY\n Yes.\n LENA\n Elizabeth has a picture of you\n guys -- your sisters and you, it's\n a lot of family, it must be nice.", "BARRY\n Do you have brothers or sisters?\n\n LENA\n No. I'm the exact opposite --", "BARRY\n I don't, no matter what my sisters\n say, ok?\n\n LENA\n ...I don't know what you mean....", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "BARRY\n Sorry about that.\n\n CUSTOMER\n I didn't know you had a sister?", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "He backs away, then steps OUT OF FRAME...a moment later\nELIZABETH (his sister) and LENA (from the opening) enter the\nwarehouse, walking towards Barry;", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "Rico turns around, without loudspeaker;\n\n RICO\n Barry, your sister is on line one.\n\nThey look at him a moment....", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;" ], [ "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "Barry and the boys are prepping some boxes for shipping.\nErnesto walks over, says;\n\n ERNESTO\n Barry, your sister's here.", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "He backs away, then steps OUT OF FRAME...a moment later\nELIZABETH (his sister) and LENA (from the opening) enter the\nwarehouse, walking towards Barry;", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "BARRY\n Sorry about that.\n\n CUSTOMER\n I didn't know you had a sister?", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "BARRY\n Please don't tell my sisters.\n\n CUT TO:\n\nINT. BARRY'S APARTMENT - LATER", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;", "SUSAN\n Why did you have it?\n\nAnother sister, RHONDA, enters from behind, Barry jumps, says:", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;", "BARRY\n I haven't even told you what's\n happened. Your girl that you have\n that works there for you threatened", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY\n Ok. Have a good trip.\n\nThey do a shake hands/kiss on cheek goodbye.", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "Barry steps out of the elevator and walks to the exit,\npassing a RECEPTION DESK WOMAN.....we hear the PHONE\nRINGING......she calls out;", "Barry stands up fast, stumbles back a bit over some boxes,\nrecovers, ELIZABETH enters:" ], [ "CUT TO:\n\nINT. WAKIKI STREET/PHONE BOOTH - LATER\n\nBarry on the phone amid a crowd of people passing;", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "They grab the money from his pockets as they hold him down\non the ground;\n\n BARRY\n It's three hundred and twenty\n dollars, just take it.", "Barry hands him the phone.\n\nBarry exits.....as he's about to go out the doors, Dean\nscreams;", "BARRY\n I didn't promise her money. She\n said that it was confidential, this\n isn't fair --\n\nMike D pushes Barry's face.", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER\n\nBarry brings Lance in and closes the door, speaks sotto, then;", "BARRY\n -- excuse me.\n\nBarry walks back to the phone;\n\n BARRY\n This is Barry.", "BARRY\n What?\n\n DAVID\n You gotta give me some money.", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "BARRY\n I haven't even told you what's\n happened. Your girl that you have\n that works there for you threatened", "BARRY\n Please don't do this.\n\n DAVID\n It's just you need to give me the\n money...do you have it right now?", "BARRY\n This makes me very uncomfortable.\n\n SEXY VOICE\n I need help.\n\nBEAT.", "Barry takes out some money and hands it over.\n\n BARRY\n Keep the change, please.", "BARRY\n Nothing.\n\n LENA\n What did he want?\n\n BARRY\n Nothing.\n\nThey walk a bit.", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;" ], [ "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "BARRY\n I have a better idea of where we\n can go.\n\n LENA\n Ok.\n\nThey walk some more.", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "...The Security Guard gives Barry some very complicated\ndirections....we follow/lead Barry as he makes his way\nthrough the maze/up elevators/down corridors looking for\nLena's apartment.....Finally, he arrives, knocks;", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;", "Lena and Elizabeth leave. CAMERA leads them as they walk;\nSound starts to drop out, we see Barry and the boys cleaning", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "BARRY\n Nothing.\n\n LENA\n What did he want?\n\n BARRY\n Nothing.\n\nThey walk a bit.", "INT. WAREHOUSE AREA - MOMENTS LATER\n\nBarry walks over to Lance;", "HOLD on the back of Lena's head as she gets bandaged and\nquestioned.....\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - NIGHT", "It's dark and Barry and Lena are asleep in bed together.\nBarry gets up, in a haze....Lena moves and opens her", "CUT TO:\n\nINT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA\n\nSide by side on the return flight sit Lena and Barry.", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "BARRY\n Hello. Is Lena there?\n\n MAN'S VOICE\n You have the wrong room.\n\nHe hangs up. Barry dials the number again.", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;" ], [ "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "BARRY\n I get really sick of myself sometimes.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - DAY", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry holds his head in his hands for minute, then stands\nout of it --\n\nINT. BARRY'S APARTMENT - MOMENTS LATER", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY\n -- excuse me.\n\nBarry walks back to the phone;\n\n BARRY\n This is Barry.", "BARRY\n There is no reason for you to treat\n me like you do -- you're killing\n me, you are killing me with the way\n that you are towards me --", "BARRY\n Yes I'm fine. Everything is ok.\n It's fine. Everything is fine.\n\nThey walk some more and get in the car.", "BARRY\n That must be nice. That must be\n really, really, really great.\n\n LENA\n It's terrible, no.", "BARRY\n Why? ...what?\n\n MANAGER\n Your hand is bleeding.\n\n BARRY\n I know.", "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "Barry goes into his office and looks at the Harmonium. BEAT.\nHe presses some keys, makes a little more noise with it. (a\nquarter of some sort of melody starts here...)", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "BARRY\n .....Well yes I do....\n (beat)\n But one more thing I wanted to tell", "Barry starts to cry. Walter just stares at his. HOLD.\n\nBarry stops, recuperates, then leaves.....as he does;", "Barry walks this time into his office......CAMERA tracks\nwith Barry to his office, seeing him try and shake this\noff.....He EXITS FRAME.\n\n CUT TO:", "Barry is alone, closing up. He takes a look at the Harmonium\nand presses it, makes a sound....a little bit more....makes" ], [ "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "BARRY\n Nothing.\n\n LENA\n What did he want?\n\n BARRY\n Nothing.\n\nThey walk a bit.", "It's dark and Barry and Lena are asleep in bed together.\nBarry gets up, in a haze....Lena moves and opens her", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER\n\nBarry brings Lance in and closes the door, speaks sotto, then;", "BEAT. He's put on hold a moment, then it rings, then:\n\n LENA\n Hello?\n\n BARRY\n Lena?", "BARRY\n How long have you known her?\n\n LENA\n About six months.\n\n BARRY\n You like her?", "LENA\n Is everything ok?\n\n BARRY\n Yes.\n\n LENA\n What happened?", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "BARRY\n Did you really come to meet me on\n purpose or are you lying about that?\n\n LENA\n No, no. I did.", "LENA\n I'm sorry. I thought you said --\n\n BARRY\n No I didn't say that.", "BARRY\n (sotto, calm)\n You know you're not supposed to do\n that. Because I told you. Seriously.\n Please. Not that day. Ok.\n LENA\n Barry?", "BARRY\n That was good.\n\n LENA\n Yeah.\n\n BARRY\n I'll see you later.", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "BARRY\n That must be nice. That must be\n really, really, really great.\n\n LENA\n It's terrible, no.", "LENA\n Yeah?\n\n BARRY\n It's Barry.\n\n LENA\n HI. WHERE ARE YOU? ARE YOU HERE?", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?" ], [ "CUT TO:\n\nINT. LENA'S APARTMENT/HALLWAY - THAT MOMENT", "Lena gets into her car. Elizabeth keeps walking. She waits\nuntil Elizabeth is out of sight at the mouth of the driveway\nand then she gets back out of her car and walks straight\nback into the warehouse.", "Lena is getting a bandage applied to her head by an intern.\nIt's very calm and she's very matter-of-fact as it happens.\nBarry stands nearby.....and OFFICER is asking her a few\nquestions;", "....and we watch Lena answer the phone....", "Barry turns and sees Lena's head has been injured.....he\nlooks behind and sees TWO OF THE BROTHERS EMERGING FROM THE\nCAR.....\n\n.....he gets out quick, heads right for them....", "They take their shirts off.\n\n LENA\n Press together. It feels good.\n\nShe cups his face with her hands and tenses;", "LENA\n So here we go.\n\nCAMERA PUSHES IN AS MY KISS.", "LENA\n Yeah. Yeah we get along well.\n (beat)\n You didn't get along with her very\n well?", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "LENA\n I know. I know. I know. I just\n wanna chew your face and scoop out\n your beautiful, beautiful eyes with", "LONG DISSOLVE TO:\n\nEXT/INT. LENA'S APARTMENT COMPLEX - EVENING", "HOLD on the back of Lena's head as she gets bandaged and\nquestioned.....\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - NIGHT", "LENA\n Yeah.", "LENA\n Yeah.", "Lena and Elizabeth leave. CAMERA leads them as they walk;\nSound starts to drop out, we see Barry and the boys cleaning", "LENA\n You left me at the hospital.\n\n BARRY\n I'm sorry.\n\n LENA\n You can't do that.", "He walks away, Lena turns to him;", "LENA\n Is everything ok?\n\n BARRY\n Yes.\n\n LENA\n What happened?", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;", "It's dark and Barry and Lena are asleep in bed together.\nBarry gets up, in a haze....Lena moves and opens her" ], [ "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "LENA\n (to Barry)\n It was great to meet you again. To\n see you again, thanks for helping\n me yesterday --\n\n BARRY\n Ok.", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "BARRY\n I forgot about that.\n\n LENA\n Can I come home with you when we\n get there?\n\n BARRY\n Yeah.", "BARRY\n That was good.\n\n LENA\n Yeah.\n\n BARRY\n I'll see you later.", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?", "LENA\n I'm sorry. I thought you said --\n\n BARRY\n No I didn't say that.", "BARRY\n Really?\n\n LENA\n Yeah.\n\n BARRY\n So what do I do then?", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "BARRY\n I have a better idea of where we\n can go.\n\n LENA\n Ok.\n\nThey walk some more.", "BEAT.\n\n LENA\n Ok. Maybe I'll see you later. Thank\n you for your help.\n\n BARRY\n Thank you.", "LENA\n Do you want to pick me up?\n\n BARRY\n Sure.", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;", "LENA\n Can I ask you, can I trust to leave\n my keys with you and give them to\n you so that when they get here you\n could give them to them?\n BARRY\n Ok.", "LENA\n You don't think you'll go --\n\n BARRY\n I don't know.", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later." ], [ "BARRY\n My name is Barry Egan and I spoke\n to you....you called me, you remember?\n\n INTERCUT:", "OPERATOR GIRL (OC)\n And your name?\n\n BARRY\n Barry Egan.", "BARRY\n Hello, my name is Barry Egan and I\n called your service --\n\n DEAN\n Why don't you shut the fuck up?", "LATISHA\n Hey, it's me. This guy from L.A.,\n Barry Egan is calling on the other\n line and saying all this stuff, he\n wants to talk to a supervisor or\n whatever --", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "BARRY\n Hello, sir. My name is Barry Egan\n and I'd like to ask if you have any\n more Healthy Choice pudding in the\n back?", "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "BARRY\n I get really sick of myself sometimes.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - DAY", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "CAMERA (STEADICAM) holds on a man in a suit, sitting behind\na desk, on the phone: BARRY EGAN (Adam Sandler)", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "BARRY\n -- excuse me.\n\nBarry walks back to the phone;\n\n BARRY\n This is Barry.", "BARRY\n Hi Walter.\n\n WALTER\n How's business?", "Barry enters, takes a quick moment to size up the\nharmonium.....He picks up the phone and through the\nconversation gently moves the harmonium to a different spot\non the desk;", "BARRY very casually pushes some papers aside and looks at\nthe ad...\n\nHOLD ON HIS FACE. He looks....then:", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;", "BARRY\n God Damn They're So Beautiful.\n\n CUT TO:\n\nINT. SUPERMARKET - DAY" ], [ "BARRY\n Please don't tell my sisters.\n\n CUT TO:\n\nINT. BARRY'S APARTMENT - LATER", "Barry's SEVEN SISTERS are all there, preparing dinner and\ntalking away....they turn and see him;", "CUSTOMER\n How many sisters do you have?\n\n BARRY\n ....I have seven.", "SUSAN\n Why did you have it?\n\nAnother sister, RHONDA, enters from behind, Barry jumps, says:", "BARRY\n It's fine. It was fun, though.\n\n LENA\n It must be weird for you to have so\n many sisters?", "Barry and the boys are prepping some boxes for shipping.\nErnesto walks over, says;\n\n ERNESTO\n Barry, your sister's here.", "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "BARRY\n Yes.\n LENA\n Elizabeth has a picture of you\n guys -- your sisters and you, it's\n a lot of family, it must be nice.", "BARRY\n Do you have brothers or sisters?\n\n LENA\n No. I'm the exact opposite --", "BARRY\n I don't, no matter what my sisters\n say, ok?\n\n LENA\n ...I don't know what you mean....", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "BARRY\n Sorry about that.\n\n CUSTOMER\n I didn't know you had a sister?", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "He backs away, then steps OUT OF FRAME...a moment later\nELIZABETH (his sister) and LENA (from the opening) enter the\nwarehouse, walking towards Barry;", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "Rico turns around, without loudspeaker;\n\n RICO\n Barry, your sister is on line one.\n\nThey look at him a moment....", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "BARRY\n (into phone)\n I'm gonna call you back.\n\nHe starts to hang up the phone, turns to Elizabeth as we hear;" ], [ "BARRY\n Please don't tell my sisters.\n\n CUT TO:\n\nINT. BARRY'S APARTMENT - LATER", "SUSAN\n Why did you have it?\n\nAnother sister, RHONDA, enters from behind, Barry jumps, says:", "Barry's SEVEN SISTERS are all there, preparing dinner and\ntalking away....they turn and see him;", "BARRY\n I don't, no matter what my sisters\n say, ok?\n\n LENA\n ...I don't know what you mean....", "BARRY\n That's very nice. Thank you. Thank\n you for saying that.\n (beat)\n You're friends with my sister?\n\n LENA\n Yeah.", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "Barry and the boys are prepping some boxes for shipping.\nErnesto walks over, says;\n\n ERNESTO\n Barry, your sister's here.", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "Barry is standing near the harmonium, fiddling around. He\nlooks up, sees Elizabeth and Lena walking towards him and\ntenses....they meet in the middle of the warehouse;", "CUSTOMER\n How many sisters do you have?\n\n BARRY\n ....I have seven.", "BARRY\n There is no reason for you to treat\n me like you do -- you're killing\n me, you are killing me with the way\n that you are towards me --", "BARRY\n I don't really remember that.\n\n KATHLEEN\n Yes you do. We were calling you Gay\n Boy and you got so mad....", "BARRY\n It's fine. It was fun, though.\n\n LENA\n It must be weird for you to have so\n many sisters?", "He backs away, then steps OUT OF FRAME...a moment later\nELIZABETH (his sister) and LENA (from the opening) enter the\nwarehouse, walking towards Barry;", "Rico turns around, without loudspeaker;\n\n RICO\n Barry, your sister is on line one.\n\nThey look at him a moment....", "BARRY\n Do you have brothers or sisters?\n\n LENA\n No. I'm the exact opposite --", "Barry shakes hands and hello's with the brother in law's.\nHe's left alone for a moment with Walter and Elizabeth;\n\n WALTER\n How you doin' Barry?", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "Mia approaches holding a baby.....Barry tries to say hello\nto the baby, but Mia slowly turns the baby out of Barry's\ngrasp....making herself the center of his attention;" ], [ "CUT TO:\n\nINT. BARRY'S CAR - DRIVING - NIGHT", ".....Barry flinches a little, stares.....the JEEP sits idle\nfor a moment....then it drives off....then:", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "CUT TO:\n\nINT. BARRY'S APARTMENT/GARAGE\n\nCAMERA inside the garage. Barry pulls inside and parks his car.", "BARRY\n Let's go to the hospital.\n\nThey drive off.\n\nINT. HOSPITAL - LATER", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "Barry starts to walk away....David walks alongside him,\ncasually.....Barry looks over and sees the car has pulled\nup....", "CAMERA moves over with Barry as he starts to back away from\nthe scene.....CAMERA watches him as he walks off and away,\ndown the hall.....out of the hospital......", "Barry walks this time into his office......CAMERA tracks\nwith Barry to his office, seeing him try and shake this\noff.....He EXITS FRAME.\n\n CUT TO:", "Barry holds his head in his hands for minute, then stands\nout of it --\n\nINT. BARRY'S APARTMENT - MOMENTS LATER", "BARRY\n Yes I'm fine. Everything is ok.\n It's fine. Everything is fine.\n\nThey walk some more and get in the car.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "CAMERA is behind Barry now in a new location....he's walking\nfrom his garage where he's just parked his car over to his\ngarbage area as he throws something out...", "CUT TO:\n\nEXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT\n\nBarry hops into a TAXI. The CAB DRIVER asks:", "Barry drops the phone to the ground, spins around and PUTS\nHIS FIST THROUGH THE WALL.....then drops down, lower his\nhead. CAMERA HOLD CU. as he stops himself, tries to breath;", "Barry turns instantly and walks away....he turns back as he\nwalks....TWO SHOT - track left with him....\n\n BARRY\n (turns back)\n One second, sorry.", "....The Toyota passes and it's nothing.....Barry and Lance\nload the pudding in his car as Barry acts as if nothing\nhappened. He turns and sees a BABY in a shopping cart and he\nreacts;", "It's a little bit later and Barry stands in his bathroom,\nwashes his face....HOLD....then he dries his face, walks\ninto his bedroom, gets into bed wearing T-shirt and" ], [ "ELIZABETH\n This is Lena, she's a good friend\n of mine from work. We were in the", "....and we watch Lena answer the phone....", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "ELIZABETH\n Hey. What are you doing?\n\n BARRY\n Nothing. I'm just at work and I'm\n wondering, you know your friend Lena?", "LENA\n Yeah. Yeah we get along well.\n (beat)\n You didn't get along with her very\n well?", "LENA\n So here we go.\n\nCAMERA PUSHES IN AS MY KISS.", "CUT TO:\n\nINT. LENA'S APARTMENT/HALLWAY - THAT MOMENT", "A small FORD ESCORT pulls into the driveway, around the\nHarmonium, parks......a young woman named LENA LEONARD", "Lena gets into her car. Elizabeth keeps walking. She waits\nuntil Elizabeth is out of sight at the mouth of the driveway\nand then she gets back out of her car and walks straight\nback into the warehouse.", "LENA\n ...I thought I should tell you. I\n didn't want to get too far along on\n going out and be hiding something --\n\nBEAT. He leans slightly back in FRAME.", "LONG DISSOLVE TO:\n\nEXT/INT. LENA'S APARTMENT COMPLEX - EVENING", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "THE LEFT SIDE OF THE SCREEN holds Lena. She waits in her\nsmall, nondescript apartment doing the things you do while\nwaiting for someone else. She sits, stands, sits, stands....", "LENA\n Do you know them.\n\n BARRY\n Not very well.", "LENA\n (to Elizabeth)\n You ready?\n\n ELIZABETH\n Are you coming to eat with us?", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later.", "LENA\n (to Barry)\n It was great to meet you again. To\n see you again, thanks for helping\n me yesterday --\n\n BARRY\n Ok.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "LENA\n You think it's ok where I left it,\n right there?\n\n BARRY\n I think that'll be fine.", "LENA\n The first man came on the driver\n side....\n\n POLICE\n ...right...the blonde one?" ], [ "CUT TO:\n\nINT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA\n\nSide by side on the return flight sit Lena and Barry.", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "BARRY\n That's great -- Hawaii. I was\n thinking about going there.\n\n LENA\n Really?", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "LENA\n It's so nice.\n\n BARRY\n This really looks like Hawaii here.\n\nThey look at each other. HOLD, THEN:", "LENA\n If you come to Hawaii --\n\n BARRY\n Yeah, I don't know, we'll see about\n that.", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later.", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?", "LENA\n You think it's ok where I left it,\n right there?\n\n BARRY\n I think that'll be fine.", "BARRY\n Hello. Is Lena there?\n\n MAN'S VOICE\n You have the wrong room.\n\nHe hangs up. Barry dials the number again.", "BARRY\n Nothing.\n\n LENA\n What did he want?\n\n BARRY\n Nothing.\n\nThey walk a bit.", "BARRY\n I have a better idea of where we\n can go.\n\n LENA\n Ok.\n\nThey walk some more.", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "Lena and Elizabeth leave. CAMERA leads them as they walk;\nSound starts to drop out, we see Barry and the boys cleaning", "BARRY\n Really?\n\n LENA\n Yeah.\n\n BARRY\n So what do I do then?", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her...." ], [ "is The Phone Sex Area; a GIRL on the phone. (We hear bits of\nher call, e.g. \"Me? I'm in Florida. Laying on my bed.\")", "LATISHA\n Hey, it's me. This guy from L.A.,\n Barry Egan is calling on the other\n line and saying all this stuff, he\n wants to talk to a supervisor or\n whatever --", "I called a phone sex line.\n I called a phone sex line before I\n met you and then these four blond\n brothers came after me and you got", "SEXY VOICE\n Hi, is this Jack?\n\n BARRY\n Yes.\n\n SEXY VOICE\n This is Georgia.", "SEXY VOICE\n Hang up again and see the trouble\n it's gonna make.\n\nBarry instantly hangs up the phone, turns around and walks\nback to Lena;", "LATISHA picks up doing a fake voice as an \"Operator.\"\n\n LATISHA (OC)\n This is Janice the operator, who's\n this?", "She leaves. Elizabeth heads for Barry's office;\n\nANGLE, BARRY on the phone\n\n SEXY VOICE\n Come on, I thought we had fun, rich\n boy --", "INTERCUT NOW WITH BARRY/LATISHA/DEAN; She clicks over to him;\n\n LATISHA\n Ok, sir....I'm gonna put you\n through to my supervisor.", "Barry steps out of the elevator and walks to the exit,\npassing a RECEPTION DESK WOMAN.....we hear the PHONE\nRINGING......she calls out;", "OPERATOR GIRL (OC)\n Of course. Would you like to talk\n to a girl? I can connect you with a\n beautiful girl if I can just get\n your credit card number followed by\n the expiration date?", "DAVID\n HEY. You made a fucking sex call\n and now you're gonna pay. It's not\n a big thing -- just give us some", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "BARRY\n Hi, Rhonda, yes I am.\n\n RHONDA\n Bye.\n\nShe hangs up.", "LATISHA\n Can you hang on a second?\n\nShe puts him on hold and dials another number, she's real\nnervous, holding it in --", "BARRY\n -- excuse me.\n\nBarry walks back to the phone;\n\n BARRY\n This is Barry.", "BARRY\n Sure.\n\n SEXY VOICE\n Yeah....? So...Jack...are you\n stroking that big fat fucking cock\n of yours?", "SEXY VOICE\n You've just made a war that you\n cannot afford.\n\nShe hangs up real quick. HOLD. Barry and his harmonium.", "Rico turns around, without loudspeaker;\n\n RICO\n Barry, your sister is on line one.\n\nThey look at him a moment....", "SEXY VOICE\n ....this is your mistake....\n\nElizabeth comes walking into his office, starts whispering\nto him as he's on the phone;", "BARRY\n Hi. This is Jack.\n\n SEXY VOICE\n So what are you doing tonight, Jack?\n\n BARRY\n Nothing." ], [ "BARRY\n Ok, bye-bye.\n\nBarry snaps out of this, turns, claps his hands in confidence\nand walks back to the customers and says:", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "They grab the money from his pockets as they hold him down\non the ground;\n\n BARRY\n It's three hundred and twenty\n dollars, just take it.", "Barry turns and sees Lena's head has been injured.....he\nlooks behind and sees TWO OF THE BROTHERS EMERGING FROM THE\nCAR.....\n\n.....he gets out quick, heads right for them....", "Barry goes into his office and looks at the Harmonium. BEAT.\nHe presses some keys, makes a little more noise with it. (a\nquarter of some sort of melody starts here...)", "Barry hangs up the phone real fast. HOLD. He doesn't move.\n\n CUT TO:", "CUT TO:\n\nINT. WAKIKI STREET/PHONE BOOTH - LATER\n\nBarry on the phone amid a crowd of people passing;", "LANCE\n Yeah.\n\n BARRY\n That's funny.\n\n CUT TO:", "It's a little bit later and Barry stands in his bathroom,\nwashes his face....HOLD....then he dries his face, walks\ninto his bedroom, gets into bed wearing T-shirt and", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", ".....Barry flinches a little, stares.....the JEEP sits idle\nfor a moment....then it drives off....then:", "Barry drops the phone to the ground, spins around and PUTS\nHIS FIST THROUGH THE WALL.....then drops down, lower his\nhead. CAMERA HOLD CU. as he stops himself, tries to breath;", "Barry takes out some money and hands it over.\n\n BARRY\n Keep the change, please.", "Barry goes to his knees and unlatched the bellows. He pumps\nthe bellow, reaches up, presses a note, and another...then", "Barry turns instantly and walks away....he turns back as he\nwalks....TWO SHOT - track left with him....\n\n BARRY\n (turns back)\n One second, sorry.", "CUT TO:\n\nINT. BARRY'S APARTMENT - MOMENTS LATER", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "MANAGER\n The police are on their way.\n\n BARRY\n Sorry.\n\nHe starts to move back....", "BARRY\n Why? ...what?\n\n MANAGER\n Your hand is bleeding.\n\n BARRY\n I know." ], [ "BARRY\n Well I had to go to Utah...but now\n I'm here and I'll be right back.\n\n CUT TO:", "CUT TO BLACK.\n\nTitle Card: Provo, Utah\n\nFADE IN:\n\nINT. STEVENS BROTHERS HOUSE - DAY", "OPERATOR\n What city?\n\n BARRY\n Somewhere in Utah.\n\n OPERATOR\n What's the listing?", "CU. on Barry....(UTAH CAB behind him) pan him around to\nreveal; Dean's furniture store.\n\n CUT TO:", "JUMP CUT TO:\n\nINT. LOCAL BAR/PROVO - MOMENTS LATER", "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "Barry is walking up and around, looking for the spot. Two or\nthree shots of various, him getting a little/slightly\nlost.....running/walking....\n\n CUT TO:", "INT. LOCAL BAR/PROVO - LATER", "Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING.\nHe looks across the aisle and sees:", "BARRY\n Ok. Have a good trip.\n\nThey do a shake hands/kiss on cheek goodbye.", "CUT TO:\n\nEXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT\n\nBarry hops into a TAXI. The CAB DRIVER asks:", "BARRY\n Let's go to the hospital.\n\nThey drive off.\n\nINT. HOSPITAL - LATER", "CUT TO:\n\nINT. BARRY'S CAR - DRIVING - NIGHT", "BARRY\n This is Barry.\n\n KATHLEEN\n What are you doing?\n\n BARRY\n Hi, Kathleen, I'm just working.", "He hesitates, looks around, holds, then walks back inside\nhis warehouse.\n\n CUT TO:\n\nINT. BARRY'S WAREHOUSE - THAT MOMENT", "Barry starts to WELL WITH TEARS, which he hides very\nquickly, holds a hand up to his face as if he's touching his\nnose, and then he smiles;", "CAMERA is behind Barry now in a new location....he's walking\nfrom his garage where he's just parked his car over to his\ngarbage area as he throws something out...", "Barry comes back and sits down, seems a little better. Tries\nto be a little flirtatious for half a moment before: the\nMANAGER comes over, leans in carefully;", "LANCE\n Yeah.\n\n BARRY\n That's funny.\n\n CUT TO:", "Barry goes into his office and looks at the Harmonium. BEAT.\nHe presses some keys, makes a little more noise with it. (a\nquarter of some sort of melody starts here...)" ], [ "BARRY\n That's right you travel so much.\n\n LENA\n Yeah.\n\nBEAT. The plane starts to move.", "Barry walks towards the phone;\n\n BARRY\n This is Barry.\n\n LENA (OC)\n This is Lena.", "INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)\n\nLena and Barry go through the x-ray thing. STEADICAM.", "Barry looks at her......\n\n LENA\n Your portable reed organ....the piano.\n\n BARRY\n Well, it's fine. Thank you.", "BARRY\n I was, yeah, I was thinking about\n going there for business --\n\n LENA\n -- well, if you're gonna go --", "CUT TO:\n\nINT. RESTAURANT - NIGHT\n\nLena and Barry at a table. They talk (see notes.)", "CUT TO:\n\nINT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA\n\nSide by side on the return flight sit Lena and Barry.", "They hang up and Lena looks to Barry and smiles.\n\n LENA\n Where do you have to go?\n\n BARRY\n For what?", "LENA\n Yeah.\n\n BARRY\n You see?\n\n LENA\n Yeah, no, I see --", "Barry is standing, waiting....HOLD....he looks across the\nlobby and sees: Lena....she's walking towards him with a\nsmile on her face....\n\n...Barry smiles and walks towards her....", "BARRY\n I don't freak out.\n\n LENA\n Ok.\n\n BARRY\n Have a good trip.", "LENA\n Who is it?\n\n BARRY\n It's Barry.", "LENA\n Thank you.\n\nCAMERA behind Barry as he walks away...HOLD BEHIND HIM FOR A\nBIT LONGER THEN EXPECTED;", "BARRY\n I have a better idea of where we\n can go.\n\n LENA\n Ok.\n\nThey walk some more.", "ELIZABETH\n (over her shoulder)\n Yeah, no, I have to get something\n from my car, I said.\n\nBarry and Lena about to be alone as Lance walks up;", "LENA\n Can I ask you, can I trust to leave\n my keys with you and give them to\n you so that when they get here you\n could give them to them?\n BARRY\n Ok.", "BARRY\n Ok. Have a good trip.\n\nThey do a shake hands/kiss on cheek goodbye.", "LENA\n Bye, Barry.\n\n BARRY\n Goodbye.\n\n ELIZABETH\n Call me later.", "BARRY\n That was good.\n\n LENA\n Yeah.\n\n BARRY\n I'll see you later.", "LENA\n You think it's ok where I left it,\n right there?\n\n BARRY\n I think that'll be fine." ] ]

[ "How many sisters does Barry have?", "Dean is the supervisor of the phone-sex business and what else?", "What does Barry use to fight off the four brothers?", "Where does Barry follow Lena to when she leaves for a business trip?", "What does Barry's company sell?", "Before meeting him, where does Lena first see Barry?", "How does Lena know Barry before they meet?", "What is the relationship between Barry and Elizabeth?", "How does Lena get injured?", "How many sisters does Barry have?", "Who does Barry meet that works with his sister?", "Who is extorting Barry?", "Where does Barry follow Lena to?", "What does Barry suffer from in the story?", "What is Barry keeping a secret from Lena?", "How does Lena end up hurt?", "What does Barry pledge to do for Lena?", "What does Barry Egan sell?", "How many sisters does Barry have?", "What do Barry's sisters do to him?", "What's the first thing Barry does after witnessing the car accident?", "Who is Lena Leonard, at the beginning of the story?", "What does Barry do after Lena leaves for Hawaii?", "What's the name of the phone-sex line's supervisor?", "What does Barry use to fight off the four goons?", "Why does Barry travel to Provo, Utah?", "What does Barry give Lena for her future business trips?" ]

[ [ "7", "7" ], [ "the owner of a matteress company", "Owner of a mattress store." ], [ "a tire iron", "A tire iron." ], [ "Hawaii", "Hawaii" ], [ "toilet plungers", "themed toilet plungers" ], [ "in a family photo", "a family picture" ], [ "she works with his sister", "She saw him in a family picture" ], [ "They are brother and sister", "shes his sister" ], [ "Barry's car is rammed by the brothers", "Car accident" ], [ "Seven", "seven" ], [ "Lena", "Lena" ], [ "An operator from a sex-line", "Lena" ], [ "Hawaii", "Hawaii. " ], [ "Emotional Isolation from other people", "lonliness" ], [ "That he's being extorted by the sex-line", "The call to the phone sex line " ], [ "From being in an accident caused by the four goons of the sex-line", "4 brothers rammed their car" ], [ "Use all of his frequent flyer points to travel with her", "He pledges to go with her on her future business trips using his frequent flier miles." ], [ "Themed toilet plungers and other novelty items.", "Themed toilet plungers and other novelties " ], [ "Seven.", "Seven" ], [ "Ridicule and emotionally abuse him.", "Manipulate him " ], [ "Picks up a Harmonium. ", "Fights" ], [ "A co-worker of Barry's sister's.", "Coworker of Barrys sister" ], [ "Follows her.", "Barry follows her. " ], [ "Dean Trumbell.", "Dean Trumbell" ], [ "A tire iron.", "tire iron" ], [ "To confront Dean face to face.", "To see Dean Trumbell" ], [ "His frequent-flyer miles.", "Frequent flier miles" ] ]

[ [ "VIOLET\n Yes, I'm in pain. I have got...\n gotten cancer. In my mouth. And it", "VIOLET\n Is anybody supposed to smoke?\n\n IVY\n You have cancer of the mouth.\n\n VIOLET\n Just leave it alone.", "VIOLET (CONT'D)\n For My Violet...\n\n Violet smiles ruefully, takes another pill.", "VIOLET\n I'm not. I'm in pain.\n\n BARBARA\n Because of your mouth.", "She steps into the study, emerging from the darkness into\n light to reveal: VIOLET WESTON. Dissipated, dishevelled,\n late sixties. She wears pajamas and a much slept-in robe.", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "VIOLET\n Pull the car over.\n (beat)\n I'm going to be sick.", "VIOLET\n We took care of it some time back.\n\n BARBARA\n Mom, we don't want to talk about this.", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *", "Violet takes them in, disoriented.\n\n VIOLET\n Yes. Hi, Bill.\n\n BILL\n Hello, Violet.", "VIOLET\n Oh, no. That's the end.\n\n Ivy shakes her head, goes inside. She's had enough of Violet\n to last a lifetime.", "VIOLET\n No, huh-uh.", "VIOLET (CONT'D)\n She'll be back. She's a sweet girl,\n Ivy, and I love her to death. But she\n isn't strong. Not like you. Or me.", "Violet runs through the tall grass, puts a foot wrong, goes\n down. Barbara catches up, out of breath, collapses. They\n lay on the ground, wheezing, sweating.", "VIOLET\n That is the truth! That's what I'm\n getting at! I, everybody listen... I\n am a drug addict. I am addicted to\n drugs, pills, specially downers.", "VIOLET\n Yes, because my mouth burns from\n the chemotheeeahh --\n\n BARBARA\n Are you in a lot of pain?", "Violet is off the phone, standing in hall, watching Ivy. Ivy\n stops, briefly chastened. Violet opens a bottle of pills.", "Violet stands smoking, unhappily watching Charlie and Mattie\n Fae climb into the Caddie and disappear down the gravel\n drive, heading back to Tulsa.", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits." ], [ "VIOLET\n That is the truth! That's what I'm\n getting at! I, everybody listen... I\n am a drug addict. I am addicted to\n drugs, pills, specially downers.", "VIOLET\n I told you, I'm just telling the --\n\n BARBARA\n You're a drug addict.", "VIOLET (CONT'D)\n For My Violet...\n\n Violet smiles ruefully, takes another pill.", "VIOLET (CONT'D)\n Y'see these little blue babies? These\n are my best fucking friends and they", "VIOLET\n He smokes a lot of grass.\n\n IVY\n He does?\n\n VIOLET\n He smokes a lot of grass.", "Violet lights another cigarette. *", "Violet is off the phone, standing in hall, watching Ivy. Ivy\n stops, briefly chastened. Violet opens a bottle of pills.", "The music is LOUD. We follow Barbara and Jean halfway down\n the stairs to REVEAL: Violet, high as a kite, doing a jerky", "VIOLET (CONT'D)\n Bev?! ...Bev?!\n\n She stumbles to the stereo, puts on her Clapton... stares at\n the spinning album...", "Ivy wanders into the bath. More pills, wet towels on the\n floor. She turns off the dripping faucet. Picks up towels.\n\n VIOLET (CONT'D)\n Stop that...", "Produces a bottle of pills, shakes one out, takes it.\n\n VIOLET (CONT'D)\n That's for me. One for me.", "VIOLET\n I can't go through that again. No, I\n can do this. You got rid of my pills,\n right?", "VIOLET\n They still have teachers at TU, right?\n They did when your father taught\n there.\n\n Violet takes another pill.", "Violet stands smoking, unhappily watching Charlie and Mattie\n Fae climb into the Caddie and disappear down the gravel\n drive, heading back to Tulsa.", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits.", "VIOLET\n I'm not hooked on anything.", "Violet, sits on the swing in the semi-darkness, smoking, her *\n hair wrapped in a towel. They hadn't seen her. How long has *", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "She steps into the study, emerging from the darkness into\n light to reveal: VIOLET WESTON. Dissipated, dishevelled,\n late sixties. She wears pajamas and a much slept-in robe.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium..." ], [ "VIOLET\n He hired a cook. It doesn't make any\n sense. We don't eat.", "BEVERLY\n That I'm hiring --\n\n VIOLET\n Oh, you hire women's now the thing.\n I thought you meant the other woman.", "VIOLET\n He hired this woman. He didn't ask me,\n just hired this woman to come live in\n our house. Few days before he left.", "VIOLET\n Bev...?!\n\n BEVERLY\n Yes?", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits.", "BEVERLY\n I don't understand you.\n\n VIOLET\n (winsome, to Johnna)\n Hello.\n\n JOHNNA\n Hello.", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "VIOLET (CONT'D)\n Bev?! ...Bev?!\n\n She stumbles to the stereo, puts on her Clapton... stares at\n the spinning album...", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "VIOLET\n She had it straightened. Barbara,\n or Bill, it doesn't matter, I need\n you to go through Beverly's things,\n help me with this paperwork.", "BEVERLY\n To cook and clean, take you to the\n clinic and to the --", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about.", "She stands in the shadows of the living room, confused.\n\n VIOLET\n Am I looking through window? A window?\n\n BEVERLY\n Can you come here?", "BEVERLY\n Johnna, the young woman I told you\n about.\n\n VIOLET\n You tell me she's a woman. Wo-man.\n Whoa-man.", "VIOLET\n You couldn't come home when I got\n cancer but as soon as Beverly\n disappeared you rushed back --", "VIOLET (CONT'D)\n Barb?! Ivy?!\n\n And into the living room, Bev's study.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest." ], [ "BARBARA\n Who's Johnna?\n\n VIOLET\n She's the Indian who lives in my\n attic.", "She's staring at a woman sitting in front of Beverly's desk:\n JOHNNA. Thirty, Native American, simply dressed.", "BARBARA\n She may be an Indian, but she makes\n the best goddamn apple pie I ever ate.\n\n Johnna smiles, nods to Ivy. Leaves the kitchen.", "They find Johnna cooking in the kitchen.", "Ivy looks to Johnna, embarrassed. But Johnna just takes\n Ivy's cup from her, finishes cleaning it.\n\n BILL\n You have a problem with Indians,\n Violet?", "Johnna sits at the kitchen table behind Ivy. Johnna stands,\n joins Ivy at the sink. Ivy hadn't seen her there.", "JOHNNA *\n Johnna. *\n\n Johnna keeps working, Jean watches.\n\n JEAN\n I like your necklace.", "JOHNNA\n My umbilical cord.\n\n Jean recoils. Johnna smiles.\n\n JEAN\n Ewww, are you serious?", "VIOLET (CONT'D)\n Johnna?!\n\n She reels to the stairs, crawling up --", "VIOLET\n Johnna... Johnna... Johnna...", "Johnna's at the sink, washing and breaking beans, every\n kitchen surface is covered with the large dinner she's\n preparing. Barbara enters, Karen still pursuing her.", "BEVERLY\n Johnna, the young woman I told you\n about.\n\n VIOLET\n You tell me she's a woman. Wo-man.\n Whoa-man.", "BARBARA\n Thank you. That makes me feel better.\n Knowing that you can lie.\n\n Johnna smiles.", "JOHNNA\n Yes. No. I'm fine.\n\n Jean notices a framed photo on the night stand.", "Johnna sets down her TS Elliot, goes to Violet, holds\n Violet's head, smooths her hair, rocks her. Quietly --", "37 INT. KITCHEN - NIGHT 37\n\n Johnna enters, snaps on the light, starts a pot of coffee.\n Stoic, inscrutable.", "BARBARA\n (quietly)\n Right here, Mom...\n\n Johnna steps in from the kitchen, pensively observing.", "Barefoot, Johnna quietly descends the stairs. Approaches the\n front door, left open to let in the cool night air. Undoes\n the screen door latch. Steps outside.", "JOHNNA\n Okay.\n\n JEAN\n Okay. You sure?", "Johnna starts back for the house with her mint. Off Jean --\n\n\n22 INT. THE BACK PORCH - LATE AFTERNOON 22" ], [ "VIOLET\n No, that's where what's-her-name\n lives.\n\n IVY\n Johnna.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "Then behind her, out of focus, we become aware of Violet\n running away, across the prairie, through the tall grass.", "VIOLET (CONT'D)\n And then you're here. And Barbara, and\n then you're here, and Beverly, and", "Barbara looks back, sees her mother means this literally,\n pulls to the side of the road. Violet gets out quickly.", "VIOLET (CONT'D)\n Ivy?! Ivy, you here?!\n\n Silence. The dining room, the kitchen.", "VIOLET (CONT'D)\n You call Barb? What'd she say?\n\n IVY\n She's on her way.", "Violet goes. Barb and Bill exchange a look. Barb looks to\n Ivy, who's blank. Barb takes a beat, follows Violet.", "VIOLET (CONT'D)\n Barb?! Ivy?!\n\n And into the living room, Bev's study.", "VIOLET\n I don't care about you two. I'd like\n to see my granddaughter every now --\n\n BARBARA\n Well, you're seeing her now.", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits.", "VIOLET\n We took care of it some time back.\n\n BARBARA\n Mom, we don't want to talk about this.", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *", "Violet follows her into the hall, stops at the screen door.\n\n VIOLET (CONT'D)\n You and me. We're alike.", "VIOLET (CONT'D)\n She'll be back. She's a sweet girl,\n Ivy, and I love her to death. But she\n isn't strong. Not like you. Or me.", "We stay with Barbara as she climbs out of the car, stares\n across the road, waiting for Violet, who can be heard", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "VIOLET (CONT'D)\n How many was that?\n\n IVY\n I wasn't counting.\n\n Violet takes another pill.", "VIOLET\n Oh, no. That's the end.\n\n Ivy shakes her head, goes inside. She's had enough of Violet\n to last a lifetime." ], [ "BARBARA (CONT'D)\n Mom?", "Barbara stares at her, what is she talking about?\n\n BARBARA\n Yes. Yes.\n\n Karen wraps her arms around Barbara.", "11 INT. BARBARA'S BEDROOM - DAY 11\n\n JEAN, fourteen, precocious, sticks her head in.", "JEAN KAREN\n Mom, stop it! Settle down --!\n\n BARBARA\n You know how old that girl is?", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "BARBARA\n Mom?\n\n She opens the door. Over her we FIND: Violet, entombed in\n her room. Squinting against the intrusive hall light.", "BARBARA\n Precocious little shit.", "Barbara looks back, sees her mother means this literally,\n pulls to the side of the road. Violet gets out quickly.", "BARBARA\n No you don't.\n\n IVY\n Barbara--", "He goes. She takes a moment to collect herself, turns to\n follow, finds Barbara standing out in the open kitchen door. *\n There's an awkward moment.", "Barbara is nearly catatonic as she drives, the house receding\n in the rear window behind her.", "Barbara stares at her mother for a long moment. Then --\n\n BARBARA\n Did the note say he was going to kill\n himself?\n\n No response.", "BARBARA\n You've said enough on this topic,\n I think.\n\n BILL\n Yes. There's a younger woman.", "BARBARA (CONT'D)\n Goddamn it. Mom!\n\n Barbara takes off after her. Ivy and Karen climb out, but\n don't follow. Shield their eyes to watch the chase.", "BARBARA\n Karen--", "BARBARA\n Bottom feeders, my favorite. You're\n nearly fifty years old, Ivy, you can't", "BARBARA\n Mom.", "She strides to her mother, looms over her.\n\n BARBARA (CONT'D)\n I'M RUNNING THINGS NOW!", "BARBARA\n It's okay, Mom. I'm here, I'm here.\n Shh, it's okay, I'm here." ], [ "your own son not even a day later\n dishonors Beverly's memory. We've\n been married thirty-eight years. I", "Watches her father lead her mother down the small cracked\n concrete boat ramp to where the Sheriff waits by a covered\n body. As the Sheriff pulls back the tarp --", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "SHERIFF\n Couple old boys running jug lines in\n the lake hooked him. Pulled him up.\n\n BILL\n He drowned. That's how he died, from\n drowning?", "The cars stop. The Sheriff gets out.\n\n BILL\n Let me go first, see what they need.\n\n Bill goes. Barb fixes Jean with a look.", "They go to him, but WE HANG BACK with Jean, watching the\n scene outside unfold. Bill shakes the Sheriff's hand. The\n Sheriff speaks earnestly to Barbara and Bill.", "7 INT. THE STUDY - TWILIGHT 7\n\n Beverly shifts, waiting for the sound of more movement from\n the rooms overhead. When there is none --", "A big pre-dawn sky is changing from black to blue. The\n Sheriff walks to his cruiser, kills the flashers. Bill joins\n him, still barefoot.\n\n BILL\n What happened?", "BARBARA\n Mom. The sheriff is here.\n\n VIOLET\n Inna esther?\n\n BARBARA\n What?", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "Bill drives, Ivy up front with him. Barbara sits in the back\n with Jean. Watches the sheriff's car ahead.\n\n JEAN\n What man? The Sheriff?", "A blistering hot late August day. The Weston house sits in\n bucolic, heat-weary silence. The driveway no longer crowded", "Bill stands in Beverly's empty study. Absorbing the room, the\n man, the stillness. Picks at the papers on the desk without", "Watches the car arrive. The driver's door opens, a sheriff\n gets out, silhouetted against the police flashers behind him.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Bill pushes past her up the stairs, disappears inside.\n\n\n61 INT. BEVERLY'S STUDY - AFTERNOON 61", "BILL\n What's your guess?\n\n SHERIFF\n ...Suicide.\n\n And now the full weight of it hits Bill. After a moment --", "Surveys the photos behind his desk. The girls. Vi and Bev\n together in happier times. Picks up the hardback Meadowlark", "VIOLET\n No, the sheriff, the Gilbeau boy.\n\n IVY\n What else did he say?", "SHERIFF\n Looks it. Yes, sir.\n\n Bill looks off. Song birds begin their pre-dawn chatter." ], [ "KAREN\n You know you shouldn't consider\n children.\n\n IVY\n I can't anyway, I had a hysterectomy\n last year.", "IVY\n I have to tell you something.\n\n BARBARA\n Ivy's a lesbian.\n\n IVY\n Barbara--", "Ivy looks from Violet to Barbara... suddenly lurches away\n from the table, knocking over her chair.\n\n IVY\n Why in God's name did you tell\n me this?", "IVY\n We have plans.\n\n BARBARA\n Like what?\n\n IVY\n None of your business.", "IVY\n And I'm not. Because I have one.\n Okay? Now will you leave it alone?", "IVY\n (near tears)\n Charles. His name is Charles.\n\n VIOLET\n Poor Ivy. Poor thing.", "IVY\n I'm sorry, I won't.\n\n VIOLET\n You don't know how to attract a man.\n I do. That's something I always --", "IVY\n I can't perpetuate these myths of\n family or sisterhood anymore. We're\n just people, some of us accidentally", "IVY\n I love the man I'm related to--\n\n BARBARA\n Fuck love, what a crock of shit.\n People can convince themselves they\n love a painted rock.", "Ivy gets in the car, starts it, revs the engine. Barbara\n tries to open the car door.\n\n BARBARA\n This is not my fault.", "IVY\n Mom, what are you...?\n\n BARBARA\n Oh honey...", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "IVY\n Is she clean, or not?\n\n BARBARA\n Back off.\n\n IVY\n I'm nervous.", "IVY\n Upstairs.\n\n CHARLIE\n They've always had trouble, Ivy.", "IVY\n (softly pleading )\n No, no --\n\n CHARLIE\n What is it, son?", "IVY\n No, I really don't.\n\n VIOLET\n Are you in love, Ivy?", "Barely acknowledges Ivy's arrival. The room is unruly. Bed\n unmade. Clothes draped over chairs. Dresser and night-stands\n cluttered with pills, tissue boxes, creams and lotions.", "IVY\n Please, Mom...\n\n VIOLET\n Poor baby.\n\n IVY\n Please...", "IVY\n Hey. Hey.\n\n He turns to look at her.\n\n IVY (CONT'D)\n You're my hero.", "BARBARA\n No you don't.\n\n IVY\n Barbara--" ], [ "IVY\n (near tears)\n Charles. His name is Charles.\n\n VIOLET\n Poor Ivy. Poor thing.", "Barbara relents. Ivy will finally get to say the words.\n\n IVY (CONT'D)\n Little Charles and I are --", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "IVY\n Nope.\n\n They hold hands.\n\n LITTLE CHARLES\n I was trying to be brave.", "BARBARA\n That's not a good idea. For you and\n Charles to take this any further.\n\n IVY\n Where is this coming from?", "BARBARA\n Neither did I.\n\n IVY\n I didn't tell anyone except Charles.\n That's where it started between us.", "CHARLIE\n Does it?\n\n LITTLE CHARLES IVY\n It does. Yes.", "IVY\n (softly pleading )\n No, no --\n\n CHARLIE\n What is it, son?", "CHARLIE\n So you can't even see Ivy's point?\n That Little Charles and Beverly\n share some kind of... complication.", "Ivy looks from Violet to Barbara... suddenly lurches away\n from the table, knocking over her chair.\n\n IVY\n Why in God's name did you tell\n me this?", "Ivy finds Little Charles watching television.\n\n IVY\n Is the coast clear?\n\n LITTLE CHARLES\n Never very.", "IVY\n Barbara, stop it!\n (returning to Violet)\n Mom, Charles and I --\n\n BARBARA\n Little Charles --", "VIOLET\n We couldn't let Ivy run off with\n Little Charles. Just wouldn't be\n right.\n\n Barbara doesn't respond, keeps her distance.", "means that he is Ivy's brother. Do\n you see? Little Charles and Ivy are\n brother and sister.", "BARBARA\n You're thinking of leaving?\n\n IVY\n Charles and I are going to New York.", "IVY\n I have to tell you something.\n\n BARBARA\n Ivy's a lesbian.\n\n IVY\n Barbara--", "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "IVY\n Upstairs.\n\n CHARLIE\n They've always had trouble, Ivy.", "IVY\n They said you overslept.\n\n LITTLE CHARLES\n Maybe I purposely accidentally\n overslept. I don't know. I'm sorry." ], [ "AUGUST: OSAGE COUNTY\n\n\n\n Written by\n\n Tracy Letts", "The closet is mostly empty now, the bed overflowing with\n discarded clothes. Mattie Fae nurses a cocktail, hands a *\n photo to Violet.", "VIOLET\n You're wrong there. You never would've\n gotten Beverly Weston out of Oklahoma.\n\n BARBARA\n Daddy gave me his blessing.", "IVY\n Leave me alone.\n\n BARBARA\n When Mattie Fae told me, I didn't\n know what to do --\n\n Ivy runs from the house.", "BEVERLY WESTON. A craggy, wise and deeply sad Okie. We take\n a long moment, just to study that face.", "Bill and Steve enter. Barbara's in the dining room with\n Karen and Mattie Fae setting the table. Goes for the men.\n\n BARBARA\n Give. Me. The wine.", "Violet hangs up the phone. Sits for a long moment, absorbing\n what she's heard. Mattie Fae watches from her spot sitting *\n on the corner of the bed, concerned. Ivy is in the door. *", "Mattie Fae and Charlie are waiting for them, start over as\n Violet emerges into the blinding sun. Recoils slightly.", "Johnna and Mattie Fae rush to Violet, get her to a chair.\n\n VIOLET\n Goddamn you... goddamn you, Barb...", "She smiles, he smiles back. Midway through, Mattie Fae\n enters, watches for a moment. Then breaks the spell.", "Outside, the sound of a CAR pulling up. Ivy pulls back the\n drape and the shade, finds a big Cadillac arriving.\n\n IVY\n Aunt Mattie Fae's here.", "Barbara, Bill, Mattie Fae, Charlie, Karen, and Steve are\n already seated. The men have removed their suit coats.\n\n CHARLIE\n Pass the casserole, please?", "Ivy comes out of the house to meet them. Mattie Fae spots\n her, makes a beeline for her, envelopes Ivy in a hug.", "BARBARA\n You knew about Daddy and Mattie Fae?", "diagnosed with a touch of cancer, so\n she'll need to be driven to Tulsa for\n her final chemotherapy treatments.\n You're welcome to use that American-", "VIOLET\n (points to Mattie Fae)\n This woman came to my rescue when\n one of my dear mother's many gentlemen", "CHARLIE\n Mattie Fae, we're gonna get in the\n car and go home and if you say one", "BARBARA (CONT'D)\n You and Dad.\n (Mattie Fae nods)\n Who knows this?", "12 INT/EXT. WESTON HOUSE (PAWHUSKA, OKLAHOMA) - DAY 12", "Violet pulls a dress from the closet; Mattie Fae sits,\n rooting through a box of photos; Ivy stands by the door." ], [ "BEVERLY WESTON. A craggy, wise and deeply sad Okie. We take\n a long moment, just to study that face.", "VIOLET\n You're wrong there. You never would've\n gotten Beverly Weston out of Oklahoma.\n\n BARBARA\n Daddy gave me his blessing.", "BEVERLY (CONT'D)\n The facts are: my wife takes pills and\n I drink. That's the bargain we've", "BEVERLY\n My wife takes pills and I drink.\n That's the bargain we've struck.\n\n INTERCUT WITH:", "She steps into the study, emerging from the darkness into\n light to reveal: VIOLET WESTON. Dissipated, dishevelled,\n late sixties. She wears pajamas and a much slept-in robe.", "CHARLIE\n Beverly was a teacher; teachers read\n books, I'm in the upholstery business.", "Bill left. Finds Beverly's reading glasses on the desk, puts\n them on. Thumbs through it, finds the dedication: simply:", "She smiles, he smiles back. Midway through, Mattie Fae\n enters, watches for a moment. Then breaks the spell.", "BEVERLY (CONT'D)\n \"By night within that ancient house,\n Immense, black, damned, anonymous.\"\n (and)", "MATTIE FAE\n He'll come back again, I know he will,\n he always does. Beverly is a very\n complicated man.\n\n IVY\n Kind of like Charles.", "BEVERLY (CONT'D)\n TS Eliot. Read it or not. It isn't\n a job requirement, just for your", "A blistering hot late August day. The Weston house sits in\n bucolic, heat-weary silence. The driveway no longer crowded", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "Bill stands in Beverly's empty study. Absorbing the room, the\n man, the stillness. Picks at the papers on the desk without", "The closet is mostly empty now, the bed overflowing with\n discarded clothes. Mattie Fae nurses a cocktail, hands a *\n photo to Violet.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "BARBARA\n You knew about Daddy and Mattie Fae?", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "BEVERLY\n We keep unusual hours here. Try not\n to differentiate between night and\n day. You won't be able to keep a\n healthy routine.", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about." ], [ "BARBARA\n Who's Johnna?\n\n VIOLET\n She's the Indian who lives in my\n attic.", "She's staring at a woman sitting in front of Beverly's desk:\n JOHNNA. Thirty, Native American, simply dressed.", "They find Johnna cooking in the kitchen.", "BARBARA\n She may be an Indian, but she makes\n the best goddamn apple pie I ever ate.\n\n Johnna smiles, nods to Ivy. Leaves the kitchen.", "Ivy looks to Johnna, embarrassed. But Johnna just takes\n Ivy's cup from her, finishes cleaning it.\n\n BILL\n You have a problem with Indians,\n Violet?", "Johnna sits at the kitchen table behind Ivy. Johnna stands,\n joins Ivy at the sink. Ivy hadn't seen her there.", "JOHNNA *\n Johnna. *\n\n Johnna keeps working, Jean watches.\n\n JEAN\n I like your necklace.", "VIOLET (CONT'D)\n Johnna?!\n\n She reels to the stairs, crawling up --", "JOHNNA\n My umbilical cord.\n\n Jean recoils. Johnna smiles.\n\n JEAN\n Ewww, are you serious?", "VIOLET\n Johnna... Johnna... Johnna...", "Johnna's at the sink, washing and breaking beans, every\n kitchen surface is covered with the large dinner she's\n preparing. Barbara enters, Karen still pursuing her.", "JOHNNA\n Yes. No. I'm fine.\n\n Jean notices a framed photo on the night stand.", "JOHNNA (CONT'D)\n He was kissing and grabbing her.", "BARBARA\n Thank you. That makes me feel better.\n Knowing that you can lie.\n\n Johnna smiles.", "Johnna sets down her TS Elliot, goes to Violet, holds\n Violet's head, smooths her hair, rocks her. Quietly --", "BARBARA\n (quietly)\n Right here, Mom...\n\n Johnna steps in from the kitchen, pensively observing.", "JOHNNA\n Yes, ma'am.\n\n VIOLET\n (curtsies again)\n Like...this?\n (curtsies again)\n Like this?", "37 INT. KITCHEN - NIGHT 37\n\n Johnna enters, snaps on the light, starts a pot of coffee.\n Stoic, inscrutable.", "BEVERLY\n Johnna, the young woman I told you\n about.\n\n VIOLET\n You tell me she's a woman. Wo-man.\n Whoa-man.", "Johnna steps out onto the second floor porch balcony, finds a\n police car approaching in the distance, headlights cutting\n through the dark country night." ], [ "Ivy comes out of the house to meet them. Mattie Fae spots\n her, makes a beeline for her, envelopes Ivy in a hug.", "She smiles, he smiles back. Midway through, Mattie Fae\n enters, watches for a moment. Then breaks the spell.", "Mattie Fae and Charlie are waiting for them, start over as\n Violet emerges into the blinding sun. Recoils slightly.", "VIOLET\n (points to Mattie Fae)\n This woman came to my rescue when\n one of my dear mother's many gentlemen", "MATTIE FAE (CONT'D) BILL\n Bill! Look how skinny you Hi, Mattie Fae.\n are!\n\n BILL\n Hi, Charlie.", "Johnna and Mattie Fae rush to Violet, get her to a chair.\n\n VIOLET\n Goddamn you... goddamn you, Barb...", "BARBARA (CONT'D)\n You and Dad.\n (Mattie Fae nods)\n Who knows this?", "MATTIE FAE\n Sweat's just dripping...\n\n Mattie Fae pulls back a set of drapes, finds the light is\n blocked by shades sealed with tape.", "Ivy watches her mother being comforted by Mattie Fae. Wants\n to go to her. Doesn't.", "Violet hangs up the phone. Sits for a long moment, absorbing\n what she's heard. Mattie Fae watches from her spot sitting *\n on the corner of the bed, concerned. Ivy is in the door. *", "CHARLIE\n Mattie Fae, we're gonna get in the\n car and go home and if you say one", "MATTIE FAE (CONT'D) BARBARA\n Oh my God, Barbara --! You Hi, Aunt Mattie Fae --\n give me some sugar!", "BARBARA\n You knew about Daddy and Mattie Fae?", "CHARLIE\n All right, Mattie Fae.\n\n BARBARA\n Mom...!\n\n Violet enters with a small framed photo of her and Bev.", "The closet is mostly empty now, the bed overflowing with\n discarded clothes. Mattie Fae nurses a cocktail, hands a *\n photo to Violet.", "CHARLIE\n C'mon, Mattie Fae --\n\n MATTIE FAE\n (still to Ivy)\n Y'know he got fired from a shoe store?", "IVY\n Leave me alone.\n\n BARBARA\n When Mattie Fae told me, I didn't\n know what to do --\n\n Ivy runs from the house.", "MATTIE FAE CHARLIE\n No, he can't. We have to get Maybe we should call him,\n back. Mattie Fae --", "Ivy goes, Charlie notices Mattie Fae pulling off tape.\n\n CHARLIE\n Don't do that. This isn't your place.", "MATTIE FAE AIKEN, sixty-one, Violet's baby sister, larger\n than life, is in the passenger seat. CHARLIE, Mattie Fae's" ], [ "VIOLET\n You're wrong there. You never would've\n gotten Beverly Weston out of Oklahoma.\n\n BARBARA\n Daddy gave me his blessing.", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "BEVERLY\n I don't understand you.\n\n VIOLET\n (winsome, to Johnna)\n Hello.\n\n JOHNNA\n Hello.", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "VIOLET\n No, honey, I'm fine.\n (then)\n This house must have heard a lot of\n Weston girl secrets.", "She steps into the study, emerging from the darkness into\n light to reveal: VIOLET WESTON. Dissipated, dishevelled,\n late sixties. She wears pajamas and a much slept-in robe.", "Johnna and Mattie Fae rush to Violet, get her to a chair.\n\n VIOLET\n Goddamn you... goddamn you, Barb...", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "She stands in the shadows of the living room, confused.\n\n VIOLET\n Am I looking through window? A window?\n\n BEVERLY\n Can you come here?", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about.", "CHARLIE\n All right, Mattie Fae.\n\n BARBARA\n Mom...!\n\n Violet enters with a small framed photo of her and Bev.", "VIOLET (CONT'D)\n And then you're here. And Barbara, and\n then you're here, and Beverly, and", "BARBARA\n These fucking pills? Calls at three *\n AM about people in your backyard?\n\n VIOLET\n Stop yelling at me!", "VIOLET\n Attack my family?! You ever been\n attacked in your sweet spoiled life?!\n Tell her `bout attacks, Mattie Fae,\n tell her what an attack looks like!", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Violet gets out, heads inside. Barbara watches her go.\n\n\n80 INT. WESTON HOUSE, LIVING ROOM - AFTERNOON 80", "BEVERLY\n All right.\n\n VIOLET\n I'm sorry. I'll be sickly sweet. I'm\n soooooooo sweet. In-el-abrially sweet.", "VIOLET\n I'll eat you alive, girl!\n\n Bill and Ivy try to restrain Barbara; Mattie Fae tries to\n restrain Violet. Others rise, ad-lib. Pandemonium.", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "BILL\n Hey, enough. Everybody's on edge --\n\n VIOLET\n Beverly didn't say terrible things\n behind your back --" ], [ "VIOLET\n Bev...?!\n\n BEVERLY\n Yes?", "VIOLET (CONT'D)\n And then you're here. And Barbara, and\n then you're here, and Beverly, and", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "BEVERLY\n I don't understand you.\n\n VIOLET\n (winsome, to Johnna)\n Hello.\n\n JOHNNA\n Hello.", "VIOLET (CONT'D)\n Barb?! Ivy?!\n\n And into the living room, Bev's study.", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "VIOLET (CONT'D)\n Bev?! ...Bev?!\n\n She stumbles to the stereo, puts on her Clapton... stares at\n the spinning album...", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about.", "VIOLET\n She had it straightened. Barbara,\n or Bill, it doesn't matter, I need\n you to go through Beverly's things,\n help me with this paperwork.", "BEVERLY\n Johnna, the young woman I told you\n about.\n\n VIOLET\n You tell me she's a woman. Wo-man.\n Whoa-man.", "Violet goes. Barb and Bill exchange a look. Barb looks to\n Ivy, who's blank. Barb takes a beat, follows Violet.", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "IVY\n Barbara, stop it!\n (returning to Violet)\n Mom, Charles and I --\n\n BARBARA\n Little Charles --", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "BARBARA\n Okay.\n\n VIOLET\n Okay?\n (looks to Ivy, Karen)\n Okay?", "VIOLET\n You couldn't come home when I got\n cancer but as soon as Beverly\n disappeared you rushed back --", "She stands in the shadows of the living room, confused.\n\n VIOLET\n Am I looking through window? A window?\n\n BEVERLY\n Can you come here?", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *" ], [ "BARBARA (CONT'D)\n Mom?", "Barbara heads into the yard to get away from him.\n\n\n28 INT. WESTON HOUSE, UPSTAIRS ROOM - CONTINUOUS 28", "Barbara is nearly catatonic as she drives, the house receding\n in the rear window behind her.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "He goes. She takes a moment to collect herself, turns to\n follow, finds Barbara standing out in the open kitchen door. *\n There's an awkward moment.", "Barbara stares at her, what is she talking about?\n\n BARBARA\n Yes. Yes.\n\n Karen wraps her arms around Barbara.", "Barbara is reeling, trying to comprehend.", "BARBARA\n Go away! NOW! GO AWAY!\n\n Karen and Steve retreat. Barbara stares at Mattie Fae.", "BARBARA\n Like your father drowning himself.\n\n They enter a bedroom, dump the luggage on the bed.", "BARBARA\n No...\n\n Sees Barb heading across the yard for Beverly's pick-up.\n\n VIOLET\n Barbara, please.", "BARBARA\n Karen--", "BARBARA (CONT'D)\n Mom?! Where are you going?\n\n Barbara watches for another moment.", "Barbara heads up the porch steps and into --\n\n\n88 INT. THE WESTON HOUSE/KITCHEN - DAY 88", "Barbara looks back, sees her mother means this literally,\n pulls to the side of the road. Violet gets out quickly.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "We stay with Barbara as she climbs out of the car, stares\n across the road, waiting for Violet, who can be heard", "BARBARA (CONT'D)\n Where the fuck are you going, Mom?", "BARBARA\n ...Ivy? ...what's wrong?\n\n Barb stands, moves slowly to the window. Outside: identical\n suburban homes, neutral house colors, lawns.", "BARBARA\n No. No way.\n\n\n20 INT. WESTON HOUSE - AFTERNOON 20", "The hallway is empty, but we hear the sounds of the search\n coming from the bedroom. Barbara appears, looks through the\n linen closet, looking behind stacked towels and old electric\n blankets. Finds a bottle of pills in the back." ], [ "VIOLET (CONT'D)\n For My Violet...\n\n Violet smiles ruefully, takes another pill.", "VIOLET (CONT'D)\n But he had these beautiful cowboy\n boots, shiny chocolate leather. He\n was so proud of those boots, you could", "64 CONTINUED: 64\n VIOLET (CONT'D)\n Sweet girl, sweet Barbara, my heart", "VIOLET\n Mm. Maybe Ivy'll take it.\n\n IVY\n I have something like that, remember --", "VIOLET (CONT'D)\n Bev?! ...Bev?!\n\n She stumbles to the stereo, puts on her Clapton... stares at\n the spinning album...", "VIOLET (CONT'D)\n How many was that?\n\n IVY\n I wasn't counting.\n\n Violet takes another pill.", "VIOLET\n You had it straightened. Why would\n anybody do that?\n\n IVY\n I just wanted a change.", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "VIOLET\n I'm sure you'd prefer to think that\n Santy Claus brought you presents at", "VIOLET\n Think about the last time you went to\n the mall and saw some sweet little gal", "VIOLET (CONT'D)\n Broke his heart.", "VIOLET (CONT'D)\n Too much talk about poetry, teaching.\n He hadn't written any poetry to speak", "VIOLET\n Oh... nothing to be embarrassed\n about. Secret crushes, secret\n schemes. Province of teenage girls.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "VIOLET\n Some things, though, like the silver,\n that's worth a pretty penny. But if\n you like I'll sell it to you,\n cheaper'n I might get in an auction.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "Then behind her, out of focus, we become aware of Violet\n running away, across the prairie, through the tall grass.", "VIOLET\n Okay. But now some of this furniture,\n some of this old shit you can just\n have. I don't want it, got no use for\n it. Maybe I should have an auction.", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about.", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits." ], [ "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "CHARLIE\n Does it?\n\n LITTLE CHARLES IVY\n It does. Yes.", "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n Television.\n\n IVY\n Can I watch it with you?\n\n LITTLE CHARLES\n I wish you would.", "Ivy finds Little Charles watching television.\n\n IVY\n Is the coast clear?\n\n LITTLE CHARLES\n Never very.", "IVY\n (near tears)\n Charles. His name is Charles.\n\n VIOLET\n Poor Ivy. Poor thing.", "LITTLE CHARLES\n I have a truth to tell.\n\n VIOLET\n It speaks.", "Barbara relents. Ivy will finally get to say the words.\n\n IVY (CONT'D)\n Little Charles and I are --", "IVY\n Charles and I --\n\n BARBARA\n Little Charles --\n\n IVY\n Barbara --", "IVY\n They said you overslept.\n\n LITTLE CHARLES\n Maybe I purposely accidentally\n overslept. I don't know. I'm sorry.", "IVY\n What? No, listen, Little Charles --\n\n VIOLET\n I've always known that. I told you,\n no one slips anything by me.", "LITTLE CHARLES\n Come on, help me push the pedal.\n\n She joins him on the piano bench.", "means that he is Ivy's brother. Do\n you see? Little Charles and Ivy are\n brother and sister.", "IVY\n Nope.\n\n They hold hands.\n\n LITTLE CHARLES\n I was trying to be brave.", "IVY\n Barbara, stop it!\n (returning to Violet)\n Mom, Charles and I --\n\n BARBARA\n Little Charles --", "IVY\n (softly pleading )\n No, no --\n\n CHARLIE\n What is it, son?", "LITTLE CHARLES\n I adore you.\n\n\n64 INT. DINING ROOM - AFTERNOON 64", "CHARLIE\n So you can't even see Ivy's point?\n That Little Charles and Beverly\n share some kind of... complication.", "CHARLIE LITTLE CHARLES\n You're not hurt. Mom, Jesus, I'm sorry --\n\n IVY\n It's just an accident." ], [ "BEVERLY (CONT'D)\n God-a-mighty. You have to admire the\n purity of the survivor's instinct.", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "BEVERLY (CONT'D)\n The facts are: my wife takes pills and\n I drink. That's the bargain we've", "BEVERLY (CONT'D)\n Rather than once more vow abstinence\n with my fingers crossed in the queasy", "BEVERLY (CONT'D)\n \"By night within that ancient house,\n Immense, black, damned, anonymous.\"\n (and)", "She smiles at Johnna, goes. Beverly watches her disappear\n back up the stairs, then --", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "BARBARA\n You want us to send her to where, a\n psychiatric hospital?\n\n DR. BURKE\n Well, Beverly's gone.", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "Bill left. Finds Beverly's reading glasses on the desk, puts\n them on. Thumbs through it, finds the dedication: simply:", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "BEVERLY\n My wife takes pills and I drink.\n That's the bargain we've struck.\n\n INTERCUT WITH:", "BEVERLY (CONT'D)\n It's not a decision with which I'm\n entirely comfortable. I know how to", "She goes to her mother, kisses her. Turns, heads into the\n hall, grabs her purse and Bev's keys from the dish.\n\n Violet only slowly realizes Barbara's gone.", "BEVERLY (CONT'D)\n Sorry about the heat in here. My wife\n is cold-blooded and not just in the", "BEVERLY\n The reasons why we partake are\n anymore inconsequential.\n\n The hallway, walls lined with photos of long-dead pioneer\n ancestors and faded school photographs of three daughters.", "Bill pushes past her up the stairs, disappears inside.\n\n\n61 INT. BEVERLY'S STUDY - AFTERNOON 61", "your own son not even a day later\n dishonors Beverly's memory. We've\n been married thirty-eight years. I", "burns like a... bullshit. And\n Beverly's disappeared and you're\n yelling at me.", "JOHNNA\n He had a heart attack. Fell into a\n flatbed truck full of wine grapes.\n\n BEVERLY\n Wine grapes. In Oklahoma. I'm sorry." ], [ "VIOLET (CONT'D)\n And then you're here. And Barbara, and\n then you're here, and Beverly, and", "Violet stands in the middle of the room. Sunlight streams in\n through the windows surrounding her. Approaches Beverly's\n swivel chair, touches the back, ...slowly spins it ...sits.", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *", "Violet goes. Barb and Bill exchange a look. Barb looks to\n Ivy, who's blank. Barb takes a beat, follows Violet.", "VIOLET\n No, that's where what's-her-name\n lives.\n\n IVY\n Johnna.", "VIOLET (CONT'D)\n How many was that?\n\n IVY\n I wasn't counting.\n\n Violet takes another pill.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "Then behind her, out of focus, we become aware of Violet\n running away, across the prairie, through the tall grass.", "BARBARA\n Okay.\n\n VIOLET\n Okay?\n (looks to Ivy, Karen)\n Okay?", "VIOLET\n You're the prettiest of my three\n girls, but you always look like a\n schlub. Why don't you wear makeup?", "IVY\n Barbara, stop it!\n (returning to Violet)\n Mom, Charles and I --\n\n BARBARA\n Little Charles --", "VIOLET (CONT'D)\n Ivy?! Ivy, you here?!\n\n Silence. The dining room, the kitchen.", "VIOLET (CONT'D)\n Barb?! Ivy?!\n\n And into the living room, Bev's study.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "VIOLET (CONT'D)\n You call Barb? What'd she say?\n\n IVY\n She's on her way.", "VIOLET (CONT'D)\n For My Violet...\n\n Violet smiles ruefully, takes another pill.", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "More laughter. Violet stares at Jean.", "Violet is off the phone, standing in hall, watching Ivy. Ivy\n stops, briefly chastened. Violet opens a bottle of pills.", "VIOLET\n Everyone's got this idea I'm mean\n all of a sudden.\n\n IVY\n Please, momma." ], [ "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "CHARLIE\n So you can't even see Ivy's point?\n That Little Charles and Beverly\n share some kind of... complication.", "Barbara relents. Ivy will finally get to say the words.\n\n IVY (CONT'D)\n Little Charles and I are --", "IVY\n (near tears)\n Charles. His name is Charles.\n\n VIOLET\n Poor Ivy. Poor thing.", "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "means that he is Ivy's brother. Do\n you see? Little Charles and Ivy are\n brother and sister.", "CHARLIE\n Does it?\n\n LITTLE CHARLES IVY\n It does. Yes.", "IVY\n Barbara, stop it!\n (returning to Violet)\n Mom, Charles and I --\n\n BARBARA\n Little Charles --", "LITTLE CHARLES\n Television.\n\n IVY\n Can I watch it with you?\n\n LITTLE CHARLES\n I wish you would.", "IVY\n What? No, listen, Little Charles --\n\n VIOLET\n I've always known that. I told you,\n no one slips anything by me.", "Ivy finds Little Charles watching television.\n\n IVY\n Is the coast clear?\n\n LITTLE CHARLES\n Never very.", "IVY\n They said you overslept.\n\n LITTLE CHARLES\n Maybe I purposely accidentally\n overslept. I don't know. I'm sorry.", "BARBARA\n This is going to be difficult, uh...\n Ivy and Little Charles have always", "IVY\n Nope.\n\n They hold hands.\n\n LITTLE CHARLES\n I was trying to be brave.", "VIOLET\n We couldn't let Ivy run off with\n Little Charles. Just wouldn't be\n right.\n\n Barbara doesn't respond, keeps her distance.", "LITTLE CHARLES\n I have a truth to tell.\n\n VIOLET\n It speaks.", "IVY\n Charles and I --\n\n BARBARA\n Little Charles --\n\n IVY\n Barbara --", "IVY\n (softly pleading )\n No, no --\n\n CHARLIE\n What is it, son?", "LITTLE CHARLES\n I have a truth.\n\n MATTIE FAE\n Little Charles...?" ], [ "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "We're inside the bus, sitting next to a man, LITTLE CHARLES,\n thirty-seven, rangy and awkward. He stares pensively out at", "Charlie climbs in behind the wheel, pulls away.\n\n STEVE\n Little Charles?", "Ivy finds Little Charles watching television.\n\n IVY\n Is the coast clear?\n\n LITTLE CHARLES\n Never very.", "LITTLE CHARLES\n All of them. I know what they say.\n\n CHARLIE\n They don't say things about you --", "CHARLIE\n Yes, like Little Charles. Exactly --\n\n MATTIE FAE\n Oh. He's nothing like Little Charles.", "LITTLE CHARLES\n I have a truth to tell.\n\n VIOLET\n It speaks.", "He spots Charlie, waiting, drinking a Coke. Little Charles\n exhales, stands. Steps reluctantly out into the heat.\n\n LITTLE CHARLES\n I'm sorry, Dad.", "LITTLE CHARLES\n Just... I know how things are. I\n know how they feel about me and", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n I have a truth.\n\n MATTIE FAE\n Little Charles...?", "MATTIE FAE\n Little Charles has been talking about\n moving to New York. Can you picture\n that?\n\n VIOLET\n Don't discourage him now --", "VIOLET\n How about Little Charles, can't he\n take care of the dogs?\n\n CHARLIE\n Well, yeah, I guess he could --", "It lands on the floor with a sickening SPLAT.\n\n LITTLE CHARLES (CONT'D) BILL\n Oh Jesus --! Whoops.", "CHARLIE\n Does it?\n\n LITTLE CHARLES IVY\n It does. Yes.", "LITTLE CHARLES\n Television.\n\n IVY\n Can I watch it with you?\n\n LITTLE CHARLES\n I wish you would.", "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "LITTLE CHARLES\n I adore you.\n\n\n64 INT. DINING ROOM - AFTERNOON 64", "LITTLE CHARLES\n Come on, help me push the pedal.\n\n She joins him on the piano bench.", "She sits beside him on the couch.\n\n LITTLE CHARLES (CONT'D)\n I almost blew it last night.\n (she nods)\n Are you mad at me?" ], [ "She's staring at a woman sitting in front of Beverly's desk:\n JOHNNA. Thirty, Native American, simply dressed.", "BEVERLY\n That I'm hiring --\n\n VIOLET\n Oh, you hire women's now the thing.\n I thought you meant the other woman.", "BEVERLY\n Johnna, the young woman I told you\n about.\n\n VIOLET\n You tell me she's a woman. Wo-man.\n Whoa-man.", "BEVERLY (CONT'D)\n God-a-mighty. You have to admire the\n purity of the survivor's instinct.", "She goes to her mother, kisses her. Turns, heads into the\n hall, grabs her purse and Bev's keys from the dish.\n\n Violet only slowly realizes Barbara's gone.", "BEVERLY\n I don't understand you.\n\n VIOLET\n (winsome, to Johnna)\n Hello.\n\n JOHNNA\n Hello.", "BEVERLY (CONT'D)\n The facts are: my wife takes pills and\n I drink. That's the bargain we've", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "She can see a portion of Beverly's desk, a woman's legs.\n \"August\" 9/21/12 FINAL WHITE Draft 4.\n8 CONTINUED: 8", "Ivy looks to Johnna, embarrassed. But Johnna just takes\n Ivy's cup from her, finishes cleaning it.\n\n BILL\n You have a problem with Indians,\n Violet?", "BEVERLY (CONT'D)\n Sorry about the heat in here. My wife\n is cold-blooded and not just in the", "BEVERLY (CONT'D)\n \"By night within that ancient house,\n Immense, black, damned, anonymous.\"\n (and)", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "BEVERLY (CONT'D)\n It's not a decision with which I'm\n entirely comfortable. I know how to", "She smiles at Johnna, goes. Beverly watches her disappear\n back up the stairs, then --", "CHARLIE\n Beverly was a teacher; teachers read\n books, I'm in the upholstery business.", "BEVERLY\n To cook and clean, take you to the\n clinic and to the --", "BARBARA\n She may be an Indian, but she makes\n the best goddamn apple pie I ever ate.\n\n Johnna smiles, nods to Ivy. Leaves the kitchen.", "BEVERLY (CONT'D)\n Rather than once more vow abstinence\n with my fingers crossed in the queasy", "Bill left. Finds Beverly's reading glasses on the desk, puts\n them on. Thumbs through it, finds the dedication: simply:" ], [ "VIOLET\n Yes, I'm in pain. I have got...\n gotten cancer. In my mouth. And it", "VIOLET\n Is anybody supposed to smoke?\n\n IVY\n You have cancer of the mouth.\n\n VIOLET\n Just leave it alone.", "VIOLET\n Yes, because my mouth burns from\n the chemotheeeahh --\n\n BARBARA\n Are you in a lot of pain?", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "VIOLET\n Pull the car over.\n (beat)\n I'm going to be sick.", "VIOLET\n I'm not. I'm in pain.\n\n BARBARA\n Because of your mouth.", "VIOLET (CONT'D)\n For My Violet...\n\n Violet smiles ruefully, takes another pill.", "VIOLET\n We took care of it some time back.\n\n BARBARA\n Mom, we don't want to talk about this.", "VIOLET\n You couldn't come home when I got\n cancer but as soon as Beverly\n disappeared you rushed back --", "She steps into the study, emerging from the darkness into\n light to reveal: VIOLET WESTON. Dissipated, dishevelled,\n late sixties. She wears pajamas and a much slept-in robe.", "VIOLET (CONT'D)\n Y'see these little blue babies? These\n are my best fucking friends and they", "VIOLET\n He smokes a lot of grass.\n\n IVY\n He does?\n\n VIOLET\n He smokes a lot of grass.", "VIOLET\n No, huh-uh.", "JOHNNA\n What kind of cancer?\n\n BEVERLY\n My God, I nearly neglected the punch\n line: mouth cancer.", "BEVERLY (CONT'D)\n Violet. My wife. She takes pills,\n sometimes a great many. They affect...\n among other things, her equilibrium.\n Fortunately, they eliminate her need\n for equilibrium...", "VIOLET\n This house is falling apart, something\n about the basement or the sump pump or\n the foundation. I don't know anything\n about it. I can't do this by myself.", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *", "Violet takes them in, disoriented.\n\n VIOLET\n Yes. Hi, Bill.\n\n BILL\n Hello, Violet.", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "VIOLET\n I can't go through that again. No, I\n can do this. You got rid of my pills,\n right?" ], [ "LITTLE CHARLES (CONT'D)\n I wrote this for you.", "LITTLE CHARLES\n I have a truth to tell.\n\n VIOLET\n It speaks.", "LITTLE CHARLES\n Come on, help me push the pedal.\n\n She joins him on the piano bench.", "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "LITTLE CHARLES\n I have a truth.\n\n MATTIE FAE\n Little Charles...?", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n I see how they are. I don't blame\n them. I'm sorry I let you down, Dad.", "LITTLE CHARLES\n All of them. I know what they say.\n\n CHARLIE\n They don't say things about you --", "LITTLE CHARLES\n I just... I want everyone to know\n that I got what I always wanted.\n And that means... I'm not a loser.", "CHARLIE\n Yes, like Little Charles. Exactly --\n\n MATTIE FAE\n Oh. He's nothing like Little Charles.", "LITTLE CHARLES\n Just... I know how things are. I\n know how they feel about me and", "CHARLIE\n Does it?\n\n LITTLE CHARLES IVY\n It does. Yes.", "LITTLE CHARLES\n Television.\n\n IVY\n Can I watch it with you?\n\n LITTLE CHARLES\n I wish you would.", "LITTLE CHARLES\n I adore you.\n\n\n64 INT. DINING ROOM - AFTERNOON 64", "LITTLE CHARLES\n I loved Uncle Bev, you know that.\n\n CHARLIE\n Stop apologizing.", "We're inside the bus, sitting next to a man, LITTLE CHARLES,\n thirty-seven, rangy and awkward. He stares pensively out at", "LITTLE CHARLES\n I love you, Dad.\n\n CHARLIE\n Love you too, son.", "He spots Charlie, waiting, drinking a Coke. Little Charles\n exhales, stands. Steps reluctantly out into the heat.\n\n LITTLE CHARLES\n I'm sorry, Dad.", "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "LITTLE CHARLES\n I know you had one of the worst days\n of your life and I'm sorry if I --" ], [ "CHARLIE\n It's okay.\n\n LITTLE CHARLES\n I missed his funeral!", "LITTLE CHARLES\n I loved Uncle Bev, you know that.\n\n CHARLIE\n Stop apologizing.", "CHARLIE\n So you can't even see Ivy's point?\n That Little Charles and Beverly\n share some kind of... complication.", "IVY\n Did I hear Little Charles?\n\n CHARLIE\n He went back out to the car.", "Charlie hands Little Charles his comb.\n\n LITTLE CHARLES\n Uncle Bev must be disappointed in me.", "BARBARA\n You have to say Little Charles or she\n won't know who you're talking about.\n\n IVY\n Little Charles and I...", "LITTLE CHARLES\n All of them. I know what they say.\n\n CHARLIE\n They don't say things about you --", "LITTLE CHARLES\n I...\n\n IVY\n Charles, not like this, please...", "LITTLE CHARLES\n I see how they are. I don't blame\n them. I'm sorry I let you down, Dad.", "IVY\n They said you overslept.\n\n LITTLE CHARLES\n Maybe I purposely accidentally\n overslept. I don't know. I'm sorry.", "Ivy finds Little Charles watching television.\n\n IVY\n Is the coast clear?\n\n LITTLE CHARLES\n Never very.", "CHARLIE\n We ask that you watch over Beverly,\n too, as he, as he... as he... makes", "We're inside the bus, sitting next to a man, LITTLE CHARLES,\n thirty-seven, rangy and awkward. He stares pensively out at", "LITTLE CHARLES\n Television.\n\n IVY\n Can I watch it with you?\n\n LITTLE CHARLES\n I wish you would.", "BEVERLY (CONT'D)\n God-a-mighty. You have to admire the\n purity of the survivor's instinct.", "LITTLE CHARLES\n I have a truth.\n\n MATTIE FAE\n Little Charles...?", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "VIOLET\n We couldn't let Ivy run off with\n Little Charles. Just wouldn't be\n right.\n\n Barbara doesn't respond, keeps her distance.", "LITTLE CHARLES\n No, I was just --\n\n MATTIE FAE\n This one watches so much television,\n it's rotted his brain." ], [ "VIOLET\n You're wrong there. You never would've\n gotten Beverly Weston out of Oklahoma.\n\n BARBARA\n Daddy gave me his blessing.", "BEVERLY WESTON. A craggy, wise and deeply sad Okie. We take\n a long moment, just to study that face.", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "JOHNNA\n He had a heart attack. Fell into a\n flatbed truck full of wine grapes.\n\n BEVERLY\n Wine grapes. In Oklahoma. I'm sorry.", "BEVERLY (CONT'D)\n The facts are: my wife takes pills and\n I drink. That's the bargain we've", "The Weston clan walks to Beverly's Lincoln, Bill, Jean. Barb\n and Ivy help a distraught Violet. All wear mourning black.", "Strong male hands lift Beverly's now dressed body carefully\n and place it into the casket. Adjust the pillow, comb his\n hair into place, fold his hands across his chest.", "A blistering hot late August day. The Weston house sits in\n bucolic, heat-weary silence. The driveway no longer crowded", "your own son not even a day later\n dishonors Beverly's memory. We've\n been married thirty-eight years. I", "Bill left. Finds Beverly's reading glasses on the desk, puts\n them on. Thumbs through it, finds the dedication: simply:", "VIOLET (CONT'D)\n And then you're gone, and Beverly,\n and then you're gone, and Barbara,", "BEVERLY\n My wife takes pills and I drink.\n That's the bargain we've struck.\n\n INTERCUT WITH:", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "BARBARA\n You want us to send her to where, a\n psychiatric hospital?\n\n DR. BURKE\n Well, Beverly's gone.", "Barbara stares at her mother for a long moment. Then --\n\n BARBARA\n Did the note say he was going to kill\n himself?\n\n No response.", "VIOLET\n I went to bed Saturday night, got up\n Sunday... still no Beverly. I didn't\n make much of it, thought he'd gone\n out on a bender.", "VIOLET\n Your father tore himself up over it,\n thirty some-odd years, but Beverly\n wouldn't have been Beverly if he\n didn't have plenty to brood about.", "BILL\n What's your guess?\n\n SHERIFF\n ...Suicide.\n\n And now the full weight of it hits Bill. After a moment --", "Bill stands in Beverly's empty study. Absorbing the room, the\n man, the stillness. Picks at the papers on the desk without", "The closet is mostly empty now, the bed overflowing with\n discarded clothes. Mattie Fae nurses a cocktail, hands a *\n photo to Violet." ], [ "VIOLET\n Everyone's got this idea I'm mean\n all of a sudden.\n\n IVY\n Please, momma.", "VIOLET\n My momma was a nasty-mean old lady. I\n suppose that's where I get it from.\n\n An awkward moment.", "VIOLET\n She always had a feeling for the\n underdog.\n\n IVY\n Don't be mean to me right now, okay?", "More laughter. Violet stares at Jean.", "Violet is off the phone, standing in hall, watching Ivy. Ivy\n stops, briefly chastened. Violet opens a bottle of pills.", "VIOLET (CONT'D)\n You girls know there's a will.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Barbara turns, simply to get back in the car, sees Violet\n running through the field.\n\n BARBARA\n Mom?\n\n Violet keeps running.", "Violet goes. Barb and Bill exchange a look. Barb looks to\n Ivy, who's blank. Barb takes a beat, follows Violet.", "VIOLET\n Hey, what do you care?\n\n IVY\n You're monsters.\n\n VIOLET\n Come on now --", "Violet wrests the pills from Barb. Bill pulls Barb back into\n her seat. Violet shakes the bottle, taunting Barb. Barb\n lunges again, grabs her mother by the hair, toppling chairs,\n they crash into the --", "VIOLET\n Mm. Maybe Ivy'll take it.\n\n IVY\n I have something like that, remember --", "VIOLET\n Goddamn it, Ivy, what did she say?\n\n IVY\n She said she was on her way.", "VIOLET\n You'd better understand this, you\n smug little ingrate. There's only\n one reason Beverly killed himself and", "VIOLET (CONT'D)\n Ivy?! Ivy, you here?!\n\n Silence. The dining room, the kitchen.", "VIOLET\n No, that's where what's-her-name\n lives.\n\n IVY\n Johnna.", "Barbara looks back, sees her mother means this literally,\n pulls to the side of the road. Violet gets out quickly.", "Violet lays motionless on the bed in the semi-darkness,\n facing the wall, still fully clothed. Ivy and Karen join her.\n They stare at their mother's comatose form. Finally: *", "BARBARA\n Okay.\n\n VIOLET\n Okay?\n (looks to Ivy, Karen)\n Okay?", "VIOLET (CONT'D)\n How many was that?\n\n IVY\n I wasn't counting.\n\n Violet takes another pill." ], [ "BILL\n Our kid is just trying to deal with\n this goddamn madhouse you've dragged\n her into.\n\n BARBARA\n This madhouse is my home.", "BARBARA\n Be a father! Help me!\n\n BILL\n I am her father, goddamn it!", "BARBARA\n ...Mom?\n\n Barbara and Bill have entered, are quickly descended upon by\n Mattie Fae and Charlie. Hugs, overlapping dialogue.", "Barbara does, starts for the staircase, meets the just\n awakened Jean coming out of her room, concerned.\n\n BILL (CONT'D)\n Go back to bed, sweetheart....", "He nods. Bill comes back in from outside.\n\n VIOLET (CONT'D)\n Barbara?! Is Barbara here?!", "Barbara hands dusty battered chairs back to Bill.\n\n BARBARA\n It's \"forsaken,\" big shot!", "Barbara wakes, takes a moment to get her bearings. Early\n sunlight pours in. Bill's still asleep. She sits up,\n studies him. Surprised to find him beside her.", "BARBARA (CONT'D)\n Goddamn, it's hot.\n\n Bill unlocks the trunk, begins unloading luggage.", "Barbara drives off. The driveway now empty again. Violet\n alone outside on the walkway. She turns back to the house,\n yelling, moving from empty room to empty room.", "Barb steps out onto the porch as it reverses, SLAMS into gear\n and accelerates down the drive, spewing gravel as it goes.\n\n Bill comes out, watches it disappear with Barbara. Then:", "BARBARA\n You've encouraged that.\n\n BILL\n I haven't encouraged anything.", "BILL\n Think about that statement for a\n second, why don't you?\n\n BARBARA\n Jean is here with me because this\n is a family event.", "BARBARA\n You admire her for getting hooked\n at fourteen, makes her seem even\n more mature.\n\n Barbara climbs out. Bill follows.", "Bill chases Barbara into the yard.\n\n BILL\n I've copped to being a narcissist.\n We're the products of a narcissistic\n generation.", "A few mourners enter the church as Bill pulls in to park,\n discovers the Ferrari already there. A woman emerging.\n\n BARBARA\n Holy shit, that's Karen.", "BARBARA\n Like your father drowning himself.\n\n They enter a bedroom, dump the luggage on the bed.", "BILL (CONT'D)\n She's too much for you right now.\n\n BARBARA\n Okay.", "Bill exits, pursuing Jean. Barbara and Johnna are left\n standing there, then:\n\n WE FOLLOW Barb into the kitchen and up the stairs to --", "BARBARA\n You've said enough on this topic,\n I think.\n\n BILL\n Yes. There's a younger woman.", "BILL\n Oh, come on, she's a little more\n sophisticated than that, don't you\n think?\n\n Barbara kicks at an old, stuck, door. Enters --" ] ]

[ "What disease is Violet suffering from? ", "What is Violet addicted to? ", "Who does Beverly hire to be a cook and caretaker for Violet?", "What ethnicity is Johnna?", "Who is Violet's only daughter that lives in the area? ", "How old is Barbara's daughter? ", "How many days pass before the Sherriff informs the family about Beverly's death? ", "Why can't Ivy have children?", "What is the true reason that Charles and Ivy cannot be together?", "Where is Osage County located?", "What is Beverly Weston's profession?", "What is Johnna's ethnicity? ", "Who is Mattie Fae?", "How many daughters do Violet and Beverly Weston have?", "What is the name of Violet and Beverly's oldest daughter?", "Where does Barbara live?", "What gift did Violet wnat when she was a teenager?", "What song does Little Charles sing to Ivy?", "How does Beverly die?", "Who is Violet's middle daughter?", "Why shouldn't Ivy be able to wed Little Charles?", "Where does Little Charles plan to move?", "What is the name of the young native american woman that Beverly hires?", "What kind of cancer is Violet suffering from?", "Who does Little Charles write a song for?", "Why did Little Charles miss Beverly's funeral?", "How did Beverly Weston die?", "Which of Violet's daughters inherited her mean streak?", "What is Barbara and Bill's daughter's name?" ]

[ [ "Oral Cancer", "Cancer" ], [ "Narcotics", "Pills" ], [ "Johnna", "Johnna" ], [ "She is Native American", "native American" ], [ "Ivy", "Ivy" ], [ "Fourteen years old", "fourteen" ], [ "Five days", "five days" ], [ "Because she had a hysterectomy", "She had a hysterectomy " ], [ "Because they are siblings", "Because they are related" ], [ "Oklahoma.", "Oklahoma " ], [ "He is a poet.", "She's a poet" ], [ "She is a native American.", "Native american" ], [ "Violet's sister.", "Violet's sister" ], [ "Three.", "3" ], [ "Barbara.", "Barbara" ], [ "Colorado.", "Pawhuska, Oklahoma" ], [ "A pair of cowboy boots.", "cowgirl boots" ], [ "One he wrote for her.", "A song he has written for her" ], [ "He drowns in the lake.", "he drowned" ], [ "Ivy", "Ivy" ], [ "He is her half brother", " He is her younger half-brother" ], [ "New York", "NY" ], [ "Johnna", "Johnna" ], [ "Mouth cancer", "oral cancer" ], [ "Ivy", "Ivy" ], [ "He overslept", "He overslept" ], [ "He drowned", "She drowned" ], [ "Barbara", "Barbara" ], [ "Jean", "Jean" ] ]

[ [ "The first two were stabbed without\n thought. The sorority girl was\n gutted with autopsy precision.\n \n DEAN FISHER", "murders?\n \n SIDNEY\n What murders?", "SCREAM at the screen.\n \n \n ON SCREAM\n \n The young girl is stabbed in the heart.", "A movie is in progress. STAB.\n \n \n ON SCREEN", "The young girl, clutching her bloody chest... drags\n herself, crawling across wet grass... the killer behind\n her... raising his knife again.", "Hanging, dangling, hung from the tree, her stomach a\n ripped, bloody mess. Sidney SCREAMS IN UNFORGETTABLE\n HORROR. She steps back, falling right into the arms", "ON SCREEN\n \n The Ghost advances on the young girl, grabbing her,\n pulling her to him, raising high a long, hunting knife.", "\"YOU'RE GOING TO DIE TONIGHT.\"\n \n Sidney freaks. A muffled CRY. She shoots up, looking", "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "REPORTER #3\n Do you think there will be more\n murders?\n \n Sidney is mortified. She pushes and shoves but there is", "Shit! It's both of them. The first\n murders were to throw us - using\n the same names as Woodsboro. But", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained.", "last time, stabbing her, silencing her forever.\n \n \n IN THE THEATER", "victims received anonymous passes\n to the movie.\n \n SIDNEY\n It's a copycat killer I knew this", "IN THE THEATER\n \n The knife slices into Maureen again... then again. The\n theatre audience is starting to take note as the Ghost", "Johnny Depp and his murderous sidekick start stabbing\n each other.\n \n JOHNNY (CONT'D)", "SIDNEY\n Someone else has been killed.\n \n CUT TO:", "next victim. However, in the movie\n version, Tatum Riley was killed\n next. Dramatic license.\n \n SHERIFF", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "Sidney turns just in time to see Cotton toss Gale's\n body down into the orchestra pit. He turns, facing\n Sidney. The bloody knife in hand." ], [ "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "INT. THEATRE - A MINUTE LATER\n \n The small theatre is nearly packed to capacity. Maureen\n and Phil enter, moving down the aisle searching for two", "CLOSE on a girl, MAUREEN, no more than 18. A friendly\n face with innocent eyes. She stands in line with her\n boyfriend PHIL, same age. A handsome counterpart.", "PHIL\n Come on, baby. Lighten up a little,\n will ya?\n \n MAUREEN", "MAUREEN\n You ass.\n \n PHIL\n I'm sorry, I'm sorry but I had to.", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "Take it off.\n \n PHIL\n But...\n \n MAUREEN\n Now.", "Maureen makes her way back to her aisle seat. She sits\n down next to...\n \n \n PHIL", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "IN THE THEATER\n \n Maureen pretends to watch the movie while her hand\n continues to move between Phil's legs. She stares", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "IN THE THEATER\n \n Maureen offers Phil popcorn.", "It was too easy.\n \n MAUREEN\n You are so not funny.\n \n Phil takes her in his arms.", "Maureen and Phil reach the box office, presenting their\n tickets.\n \n They pass through the front doors where an USHER stands", "MAUREEN\n Why doesn't she run?\n \n Phil turns to her, bringing his finger to his masked\n lips, SSSHHING her.", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "MAUREEN\n Now why does she have to be naked?\n How does that serve the plot?\n \n PHIL", "Maureen and Phil find aisle seats down towards the\n screen just as the lights DIM. People FAKE SCREAM in\n terror. A very lively crowd." ], [ "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "CLOSE on a girl, MAUREEN, no more than 18. A friendly\n face with innocent eyes. She stands in line with her\n boyfriend PHIL, same age. A handsome counterpart.", "INT. THEATRE - A MINUTE LATER\n \n The small theatre is nearly packed to capacity. Maureen\n and Phil enter, moving down the aisle searching for two", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "PHIL\n Come on, baby. Lighten up a little,\n will ya?\n \n MAUREEN", "MAUREEN\n You ass.\n \n PHIL\n I'm sorry, I'm sorry but I had to.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "Maureen makes her way back to her aisle seat. She sits\n down next to...\n \n \n PHIL", "A chalk board in front of them. Three names are written\n on it under the label \"Victims\" - \"MAUREEN EVANS, PHIL", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "A YOUNG GIRL followed by her FRIEND, both perky and\n loud. They hurl past Maureen, LAUGHING and carrying on.", "Maureen and Phil reach the box office, presenting their\n tickets.\n \n They pass through the front doors where an USHER stands", "CREAKS open. Maureen enters and shoots for a stall.\n \n \n INSIDE THE STALL - MOMENTS LATER", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "He nods. Maureen stands and moves up the aisle.\n \n \n INT. LOBBY - SECONDS LATER", "points downstairs.\n \n Maureen hits the stairs to...\n \n \n INT. BASEMENT LOUNGE - SAME", "MAUREEN\n Why doesn't she run?\n \n Phil turns to her, bringing his finger to his masked\n lips, SSSHHING her.", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "IN THE THEATER\n \n Maureen pretends to watch the movie while her hand\n continues to move between Phil's legs. She stares", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls" ], [ "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "\"... The two victims, Maureen Evans\n and Phil Stevens...\"\n \n The channel switches. A YOUNG MAN is being interviewed.", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "MAUREEN\n Why doesn't she run?\n \n Phil turns to her, bringing his finger to his masked\n lips, SSSHHING her.", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "ON SCREEN\n \n The young girl lets out an enormous EAR SCREECHING\n SCREAM that mirrors Maureen's as the killer attacks one", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "INT. THEATRE - A MINUTE LATER\n \n The small theatre is nearly packed to capacity. Maureen\n and Phil enter, moving down the aisle searching for two", "A chalk board in front of them. Three names are written\n on it under the label \"Victims\" - \"MAUREEN EVANS, PHIL", "CLOSE on a girl, MAUREEN, no more than 18. A friendly\n face with innocent eyes. She stands in line with her\n boyfriend PHIL, same age. A handsome counterpart.", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "Maureen Evans - Maureen Prescott.\n Sidney Prescott's mother. The first\n victim in the Woodsboro Murders.\n Phil Stevens - Stephen Orth - the", "chilling sight that leaves Maureen extremely spooked.\n \n \n ON SCREEN", "her hand back, the reflected movie illuminating bloody\n fingers.\n \n Maureen stares at her hand..." ], [ "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "GHOST MASKED FIGURE appears in his path. Phil steps\n back, surprised. Suddenly, a flash of silver shoots", "ON SCREEN\n \n The Ghost advances on the young girl, grabbing her,\n pulling her to him, raising high a long, hunting knife.", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "last time, stabbing her, silencing her forever.\n \n \n IN THE THEATER", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "Sandra started without us. We can\n stay. He kisses her again, then\n breaks away.\n \n PHIL.", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained.", "Sid watches as one of the Ghosts withdraws his knife.\n She turns to the other. His knife is already poised.\n They close in on her, ready to strike.", "A movie is in progress. STAB.\n \n \n ON SCREEN", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down" ], [ "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "He lavaliered. He's dead.\n \n They carry him around the room, CHANTING. The frat boys", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "\"... The two victims, Maureen Evans\n and Phil Stevens...\"\n \n The channel switches. A YOUNG MAN is being interviewed.", "GHOST MASKED FIGURE appears in his path. Phil steps\n back, surprised. Suddenly, a flash of silver shoots", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "SIDNEY\n Someone else has been killed.\n \n CUT TO:", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "Strung up, her body hanging lifeless. Sid SCREAMS,\n turning, running to the other side of the stage when a\n third wall comes flying in, creating the three walled", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "No, she killed her boyfriend. Randy\n was a friend.\n \n MICKEY\n Watch out, Derek.", "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "I don't think so.\n \n Phil gets in her face, playing with her. She swats him.\n \n MAUREEN", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "much deadk, arms outstretched, crucified. His body a\n bloody mess. Sidney stops, stunned. She stands frozen\n in unspeakable horror. Her entire being ripped apart." ], [ "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "ON SCREEN\n \n The Ghost advances on the young girl, grabbing her,\n pulling her to him, raising high a long, hunting knife.", "GHOST MASKED FIGURE appears in his path. Phil steps\n back, surprised. Suddenly, a flash of silver shoots", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "Sid watches as one of the Ghosts withdraws his knife.\n She turns to the other. His knife is already poised.\n They close in on her, ready to strike.", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "Mickey sandwiched in between the two Ghosts. They're\n knives strike at the same time. One through the\n stomach, the other through the back. They withdraw", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "move. Gale's body jerks, a moment of shock and then she\n goes limp as the knife lodges in her back.", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained.", "The young girl, clutching her bloody chest... drags\n herself, crawling across wet grass... the killer behind\n her... raising his knife again.", "striking her in the stomach. She falls forward, into\n the aisle as...\n \n \n ON SCREEN" ], [ "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "chilling sight that leaves Maureen extremely spooked.\n \n \n ON SCREEN", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "IN THE THEATER\n \n Everyone in the theater is SCREAMING. Maureen tries her", "Maureen is out the door. Now thoroughly spooked.\n \n \n INT. BASEMENT LOBBY - SAME", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "CREAKS open. Maureen enters and shoots for a stall.\n \n \n INSIDE THE STALL - MOMENTS LATER", "The stall doors are all closed. Maureen shoots for the\n door. She rips the door open as a FIGURE rushes her...", "Maureen, swaying from side to side, turns to the crowd\n and emits a HORRENDOUS BLOOD CURDLING SCREAM as...", "her hand back, the reflected movie illuminating bloody\n fingers.\n \n Maureen stares at her hand...", "ON SCREEN\n \n The young girl lets out an enormous EAR SCREECHING\n SCREAM that mirrors Maureen's as the killer attacks one", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "IN THE THEATER\n \n Popcorn flies as Maureen falls forward, into the aisle,\n clutching her bloody stomach. She's speechless, unable", "spooked.\n \n MAUREEN\n I hate this shit.\n \n ON SCREEN", "points downstairs.\n \n Maureen hits the stairs to...\n \n \n INT. BASEMENT LOUNGE - SAME", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "A small lounge leads to two bathroom doors. Very low\n lighting. Maureen descends the stairs, heading for\n the...", "A chalk board in front of them. Three names are written\n on it under the label \"Victims\" - \"MAUREEN EVANS, PHIL" ], [ "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "CREAKS open. Maureen enters and shoots for a stall.\n \n \n INSIDE THE STALL - MOMENTS LATER", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "A small lounge leads to two bathroom doors. Very low\n lighting. Maureen descends the stairs, heading for\n the...", "INT. GIRL'S RESTROOM - SAME\n \n A large bathroom. Five stalls line one wall. The door", "He lavaliered. He's dead.\n \n They carry him around the room, CHANTING. The frat boys", "Dewey SCREAMS for his life, caught completely off\n guard. He falls forward onto the control panels.\n Suddenly, microphone feedback tears through the studios", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "SIDNEY\n Someone else has been killed.\n \n CUT TO:", "He looks around the room, up to the two levels above\n them. He spots a small light on the second level. He\n squints his eyes and sees a FIGURE standing behind it.", "Maureen finishes up, fastening her pants. Suddenly, the\n bathroom door CREAKS open. Maureen listens. FOOTSTEPS", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained." ], [ "Sid wastes no time, she moves along the wraparound\n porch, beating at the windows. But nothing. Everybody\n is off partying. Suddenly, Sid hears something. A", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "He looks around the room, up to the two levels above\n them. He spots a small light on the second level. He\n squints his eyes and sees a FIGURE standing behind it.", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "are heard. Loud and heavy.\n \n Maureen eyes the crack in the stall door. Not much is", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "Dewey SCREAMS for his life, caught completely off\n guard. He falls forward onto the control panels.\n Suddenly, microphone feedback tears through the studios", "BUMP! He hears a noise. He looks to the nearby shrubs\n and beyond. Nothing. Just a noise of the night.\n \n MICKEY", "GHOST MASKED FIGURE appears in his path. Phil steps\n back, surprised. Suddenly, a flash of silver shoots", "Gale moves out a side door and into a dubbing room.\n Darkness everywhere Gale stops for a second, listening", "He watches as the Ghost Figure chases her into the\n kitchen. Derek looks about the porch. He rears his foot\n back and kicks in the window.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "Maureen finishes up, fastening her pants. Suddenly, the\n bathroom door CREAKS open. Maureen listens. FOOTSTEPS", "sweeps into the dark dining room and out of sight.\n \n Dawnie starts back for the front door. The phone RINGS.", "what's going on. Derek remains on the porch, watching\n the spectacle. Slowly, the door behind him closes.", "ON THE PORCH\n \n Derek hears her SCREAM. He turns to the front door. He", "Sidney grows increasingly uneasy.\n \n CUT TO:" ], [ "Dewey listens to this exchange, slowly stepping\n forward.\n \n DEWEY\n Sidney Prescott, sir.", "CUT TO:\n \n \n INT. SIDNEY'S DORM ROOM - EVENING", "The girl rolls out of bed, her hair falls away to\n reveal her face - It's SIDNEY PRESCOTT. Two years older", "Maureen Evans - Maureen Prescott.\n Sidney Prescott's mother. The first\n victim in the Woodsboro Murders.\n Phil Stevens - Stephen Orth - the", "Sidney looks to the book bag on the seat beside her.\n She rips it open, rustling through it frantically. She\n pulls books, pencils, paper... Sid grabs a long, yellow", "INT. SCHOOL OF FILM - LATER\n \n Sidney moves down a hallway. Not your typical school", "\"YOU'RE GOING TO DIE TONIGHT.\"\n \n Sidney freaks. A muffled CRY. She shoots up, looking", "Microphones are shoved in her face as Sidney is seiged\n upon by journalists and TV cameras. She starts to\n panic.", "find you later, okay.\n \n SIDNEY\n Whatever.\n \n Sidney's exterior keeps hardening.", "INT. SIDNEY'S DORM ROOM - NIGHT\n \n Hallie consoles Sidney. Dewey and Gale nearby. Sidney", "Hanging, dangling, hung from the tree, her stomach a\n ripped, bloody mess. Sidney SCREAMS IN UNFORGETTABLE\n HORROR. She steps back, falling right into the arms", "Gale hangs up, she looks to Dewey. Smiles.\n \n DEWEY\n So what made you change your mind\n about Sidney?", "The class stews on this. Derek turns, spotting Sidney\n in the back of the room. She gives a half wave. He\n starts for her, excusing himself.", "Gale emerges from the lobby. She found a way in. She\n eyes the proceedings on stage. She sees Sidney standing", "Sid wastes no time. She takes off, running around the\n side of the building. She stops, takes a breath, but\n the reporters are on her tail. She looks up to see a...", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls,", "INT. CLASSROOM - SAME\n \n Sidney takes a seat at the back of the room. A handful", "Sid wastes no time, she moves along the wraparound\n porch, beating at the windows. But nothing. Everybody\n is off partying. Suddenly, Sid hears something. A", "Sidney is one of them. She moves around the stage, very\n animated. More alive than ever. She dons a Russian\n accent. Convincing. A promising actress.", "Sidney takes notice as the car turns onto another\n campus street. Big, stone school buildings line each\n side of a thin, road." ], [ "SIDNEY (CONT'D)\n Cotton...\n \n He moves to her.\n \n COTTON", "And with that, Cotton flips on a dime. His face turns\n evil. Sidney races by him as he throws out his arm,\n stopping her just as...", "Sidney turns just in time to see Cotton toss Gale's\n body down into the orchestra pit. He turns, facing\n Sidney. The bloody knife in hand.", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "Sid goes for it. She climbs up the ladder with\n lightning speed.\n \n Cotton, up and running, is close behind.", "SIDNEY\n Cotton.\n \n COTTON\n Can we talk?", "Derek releases Sidney, shoving her, she falls to her\n knees, next to Cotton.", "COTTON\n Please, Sidney, he's going to kill\n us.\n \n Derek begins filming again.", "SIDNEY\n NOOO!\n \n Cotton moves to Derek's body where the video camera\n lay, he pulls the tape from it.", "Sid nods as she watches the officers arrest him. They\n do a body search, pulling from his coat a large\n revolver. Cotton just smiles.", "Sidney, you can't keep your back to\n the audience like that. Could you\n cheat a little forward for me?\n \n COTTON", "COTTON\n You could start with an apology.\n \n SIDNEY\n I did that.", "SIDNEY\n You'll never get away with this.\n \n Debbie moves to Cotton, shrugging.", "Gale rushes to Cotton as he jumps to his feet. She\n helps him with the last of his bindings. Sid looks", "Sidney grows increasingly uneasy.\n \n CUT TO:", "Cotton pull and twists on his bound wrists. Sid had\n loosened them somewhat. He tries to finish undoing\n them.", "SIDNEY\n I don't think that's a good idea.\n \n COTTON\n Look, yesterday wasn't my idea.", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "Cotton. Hmmm? Hmmm?\n \n Suddenly, Hallie comes to life behind Sid, reaching", "AND THAT'S AS FAR AS I'VE GOTTEN.\n \n WHAT HAPPENS IS SID AND COTTON FIGHT TO THE FINISH, HE" ], [ "SIDNEY\n Hallie?\n \n But Hallie doesn't hear her. Sid races forward.", "SIDNEY (CONT'D)\n Hallie?\n \n Sidney moves down front to the little bridge that", "Sidney says nothing. She egdes away, moving to the wall\n where Hallie hangs.\n \n DEREK (CONT'D)", "The actors break up as Sidney, frustrated, walks across\n a make shift bridge that takes her across the orchestra\n pit and down the stairs into the house where Hallie", "We're missing the Sig Ep party.\n \n SIDNEY\n No, Hallie, not tonight. Parties", "Sid wastes no time, she moves along the wraparound\n porch, beating at the windows. But nothing. Everybody\n is off partying. Suddenly, Sid hears something. A", "Sidney, Hallie, and two other girls, TERI and LUCE tear\n into the macaroni with all their might. Gobbling it up,", "Sidney is trying to focus on homework while Hallie\n channel surfs. She finds a channel. On screen, Siskel a\n Ebert are reviewing a movie.", "out, grabbing her. Sid JUMPS. She spins around to find\n Hallie breaking out in a torrent of GIGGLES. Very much\n alive.", "Sid? Jesus, where's Hallie? I've\n been here all night.\n \n SIDNEY", "hands the phone to Sidney.\n \n HALLIE\n Knock yourself out.\n \n SIDNEY", "INT. THEATRE A MINUTE LATER\n \n Hallie and Derek move around Sid, taking turns filming\n her with the camera.", "Instantly, Hallie stands at attention. Sidney joins\n begrudgingly.\n \n HALLIE", "scare. Another prank. Sidney rips it down, turns to\n Hallie, throwing the costume at her.\n \n SIDNEY", "SIDNEY\n Please, I have the perfect excuse.\n \n HALLIE\n What about rehearsal?", "Sid is waning.\n \n HALLIE\n C'mon, Sid, don't fade on us. We've", "Sidney grows increasingly uneasy.\n \n CUT TO:", "She gives Sidney a hug before she can object, then she\n and Joel race out into the hallway as Dewey sticks his\n head in.", "Cotton. Hmmm? Hmmm?\n \n Suddenly, Hallie comes to life behind Sid, reaching", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls," ], [ "INT. SORORITY HOUSE / LIVING ROOM - NIGHT\n \n A huge living room. Divided sensibly in several", "CUT TO:\n \n \n EXT. DELTA ZETA HOUSE - MINUTES LATER", "CUT TO:\n \n \n EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER", "Two doors down sits the Chi Omega house crawling with\n police, ambulances, reporters...", "EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER\n \n SPLAT! Gobs of gooey food goes flying through the air", "EXT. DELTA ZETA HOUSE - SAME\n \n Everyone comes flying out of the front door and into", "Hold up... someone's calling. (she\n clicks over) Chi Omega House.\n \n MAN'S VOICE\n Hello.", "Two doors down from Chi Omega. A big, old Gothic home\n serves as the Delta Zeta sorority. MUSIC PLAYS from\n inside. It sounds like a party.", "Dewey is all ears.\n \n \n INT. DELTA ZETA HOUSE - SAME", "Derek shrugs. He's clearly upset by it when from out of\n nowhere, SEVERAL FRAT BOYS appear, picking Mickey up,", "sorority house down the block. Lights burn from within.\n People come and go.\n \n CICI (CONT'D)", "He lavaliered. He's dead.\n \n They carry him around the room, CHANTING. The frat boys", "EXT. SORORITY ROW - NIGHT\n \n A small street that dead-ends in a cul de sac. Large", "There's something going on at the\n Delta Zeta's. I'm gonna walk down.\n \n Cici moves further down the porch steps. The phone", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls,", "her. That sorority girl was a\n distraction.\n \n CAPTAIN TYLER\n We're aware of that.", "Yo, guys, outside. Something's up\n at the Chi Omega. Police are\n everywhere.", "old homes populate it. Greek signs adorn the place.\n Welcome to Sorority Row.", "EXT. DELTA ZETA LIVING ROOM - SANE\n \n The room is filled with fifteen to twenty people.", "Sid wastes no time, she moves along the wraparound\n porch, beating at the windows. But nothing. Everybody\n is off partying. Suddenly, Sid hears something. A" ], [ "Dewey turns to leave, his eye catching a monitor that\n hangs level with the railing. On the monitor, Gale is\n in frame, looking up at Dewey, her face fear stained.", "Gale can't take her eyes off the door. Her face is\n terrified. If she'd only turn around, she would see\n Dewey - his face terror stricken as a knife is hurled", "Gale hangs up, she looks to Dewey. Smiles.\n \n DEWEY\n So what made you change your mind\n about Sidney?", "Who stands right behind her. Dewey looks down to see\n the Ghost standing directly behind Gale.\n \n DEWEY (CONT'D)", "Shit! Randy motions to Gale and Dewey. It's him. He\n points around campus, mouthing \"He's watching.\" Gale\n grabs Dewey.", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "becomes apparent quick. It's Gale and Dewey. As they\n stand in the room - live. They're being taped.", "Just then, Gale Weathers appears being ushered in by\n TWO UNIFORMS. Dean Fisher greets her with smiles The\n FBI and local police fawn over her.", "Gale backs away from Dewey, breathless. Her cellular\n phone RINGS. She eyes Dewey, then hands it to Randy.\n \n GALE", "The safety what? Fuck that!\n \n Just then, Gale hears a NOISE. A door opening. She\n looks up to see Sidney disappear through the side", "Dewey's DEATH SCREAM rips through the room.\n \n Gale turns to the window to see Dewey, his face smashed", "INT. HALLWAY - SAME\n \n Dewey and Gale move down a dark and shadowed hallway.\n THUMP! They stop cold.", "Hello, Sidney.\n \n Gale motions to Randy. He maneuvers, getting the two of\n them in frame. A long moment, Sidney just stares at", "She hangs up, turning to Randy.\n \n GALE (CONT'D)\n Pressure's on. You ready for this?", "INT. CAMPUS SECURITY STATION - AFTERNOON\n \n Gale and Dewey are with Captain Tyler and Sheriff\n Evans.", "DEWEY\n It's okay. C'mon, Gale.\n \n \n BACK ON RANDY", "Gale watches the screen as Dewey looks around the room,\n searching for it's source.\n \n CLICK! Another monitor comes to life. More home shot", "Gale throws the phone down and tears off for Sidney.\n \n \n INT. THEATRE SAME", "Gale emerges from the lobby. She found a way in. She\n eyes the proceedings on stage. She sees Sidney standing", "INT. CAMPUS SECURITY STATION - OUTER OFFICE\n \n Gale sits at a table. Dewey approaches. He places a" ], [ "INT. SQUAD CAR - SAME\n \n Sidney sits in the backseat. The two police officers\n ride in front.", "SIDNEY\n Hallie?\n \n But Hallie doesn't hear her. Sid races forward.", "Sid SCREAMS as the Police Guard behind the wheel\n struggles with his seat belt. He looks up to see a\n Ghost Masked Figure move around the side of the car", "Sid nods as she watches the officers arrest him. They\n do a body search, pulling from his coat a large\n revolver. Cotton just smiles.", "car in drive and takes off down the road.\n \n Sidney looks behind her as the guard's dead bodies lay\n sprawled in the middle of the road. She turns to the", "SIDNEY (CONT'D)\n Wanna get outta here?\n \n CUT TO:", "POLICE GUARD #1\n We feel like Kevin Costner.\n \n Sidney smiles at this just as the car door rips open on", "The actors break up as Sidney, frustrated, walks across\n a make shift bridge that takes her across the orchestra\n pit and down the stairs into the house where Hallie", "hands the phone to Sidney.\n \n HALLIE\n Knock yourself out.\n \n SIDNEY", "theatre. Behind them sit Sid's trusting police guards.\n Sidney shifts in her seat.\n \n RANDY\n You okay, Sid?", "SIDNEY (CONT'D)\n Hallie?\n \n Sidney moves down front to the little bridge that", "Sid sits at a terminal busy at work. Her two police\n guards wander up and down the cubicles keeping an eye\n out.", "Sidney says nothing. She egdes away, moving to the wall\n where Hallie hangs.\n \n DEREK (CONT'D)", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls,", "Sid wastes no time. She takes off, running around the\n side of the building. She stops, takes a breath, but\n the reporters are on her tail. She looks up to see a...", "SIDNEY\n Where are you taking me?\n \n POLICE GUARD #1", "She gives Sidney a hug before she can object, then she\n and Joel race out into the hallway as Dewey sticks his\n head in.", "SIDNEY (CONT'D)\n Oh God, help me. We have to call\n the police.", "Sidney grows increasingly uneasy.\n \n CUT TO:", "Humor me, Sid.\n \n Sidney starts packing an overnight bag.\n \n HALLIE\n Can I come with her?" ], [ "much deadk, arms outstretched, crucified. His body a\n bloody mess. Sidney stops, stunned. She stands frozen\n in unspeakable horror. Her entire being ripped apart.", "Sidney looks to the voice. The camera is pulled away to\n reveal...\n \n \n DEREK", "The class stews on this. Derek turns, spotting Sidney\n in the back of the room. She gives a half wave. He\n starts for her, excusing himself.", "SIDNEY\n NOOO!\n \n Cotton moves to Derek's body where the video camera\n lay, he pulls the tape from it.", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "Sidney grows increasingly uneasy.\n \n CUT TO:", "door. Derek beats on it from outside.\n \n \n IN THE FOYER\n \n SIDNEY", "Sidney says nothing. She egdes away, moving to the wall\n where Hallie hangs.\n \n DEREK (CONT'D)", "INT. CORRIDOR - SAME\n \n Derek and Sidney move out into the hallway. Derek\n throws his arms around her protectively.", "Sid returns to Mickey who has risen to his feet. He's\n pulling and twisting the bike chain that binds him.", "ON STAGE\n \n Derek grabs Sidney, holding her, the knife at her\n throat.", "Sid is paniced. She doesn't know what to do. She leans\n down to untie him but stops.\n \n VOICE", "Sidney moves to the shed that's attached to the garage.\n Leaning against the side are a row of garden tools. Sid\n settles on a shovel.", "CUT TO:\n \n \n INT. SIDNEY'S DORM ROOM - EVENING", "side. A man she recognizes immediately. He looks at;\n her, his face sullen, broken. Sidney loses her breath.", "Derek releases Sidney, shoving her, she falls to her\n knees, next to Cotton.", "COTTON\n Please, Sidney, he's going to kill\n us.\n \n Derek begins filming again.", "SIDNEY (CONT'D)\n Wanna get outta here?\n \n CUT TO:", "SIDNEY\n No. This is a set up.\n \n DEREK\n That's quick.", "Cotton pull and twists on his bound wrists. Sid had\n loosened them somewhat. He tries to finish undoing\n them." ], [ "you.\n \n Gale's face is a mass of confusion.\n \n \n INT. STAGE SAME", "about at the body count on stage. It's mounting. She\n takes a deep breath. Relieved.\n \n GALE (CONT'D)", "Gale eyes a door that's marked \"STAGE DOOR\". She opens\n it and steps in coming face to face with a...", "leaps out of the way, falling to the floor.\n \n The wall falls into place on the stage. It is the back\n wall of the set that's dressed with framed pictures and", "Guys, you're missing the show.\n \n And with that Gale wanders off into the crowd.", "Sidney!\n \n \n ON STAGE\n \n They all turn, spotting Gale. Sid moves forward, happy", "theatre door.\n \n GALE\n SIDNEY!\n \n But Sidney has already disappeared inside. Gale yells", "through. And she's off and running.\n \n Gale finds a door and plows through it, stopping only\n long enough to lock it.", "Gale throws the phone down and tears off for Sidney.\n \n \n INT. THEATRE SAME", "behind Sid, with his camera. Gale gives him the nod. He\n throws the camera up, hits the light.\n \n Sid spins around, surprised to see him.", "Gale moves to the exit door and into the...\n \n \n INT. STAIR WELL SAME", "Gale emerges from the lobby. She found a way in. She\n eyes the proceedings on stage. She sees Sidney standing", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "The onslaught continues. Cameras flash, reporters\n shove. Gale moves in front of Sid, holding the crowd at\n bay. The reporters begin to throw questions at Gale.", "hard time keeping up with Gale. He hobbles along.\n \n \n BACK ON RANDY", "Sidney turns just in time to see Cotton toss Gale's\n body down into the orchestra pit. He turns, facing\n Sidney. The bloody knife in hand.", "Gale moves through the crowd as the\n press conference/rally continues.\n She runs dead smack into...", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "Dewey approaches her. Gale has never been more taken\n with him. They stand incredibly close.\n \n DEWEY", "Gale is at a loss.\n \n GALE\n I'm sorry. I don't know what else\n to say except I'm sorry." ], [ "Sid wastes no time. She takes off, running around the\n side of the building. She stops, takes a breath, but\n the reporters are on her tail. She looks up to see a...", "The onslaught continues. Cameras flash, reporters\n shove. Gale moves in front of Sid, holding the crowd at\n bay. The reporters begin to throw questions at Gale.", "Microphones are shoved in her face as Sidney is seiged\n upon by journalists and TV cameras. She starts to\n panic.", "Sidney grows increasingly uneasy.\n \n CUT TO:", "SIDNEY\n Watch out.\n \n Sid lifts the shovel up and brings it down directly on", "Sidney moves to the shed that's attached to the garage.\n Leaning against the side are a row of garden tools. Sid\n settles on a shovel.", "SIDNEY\n Someone else has been killed.\n \n CUT TO:", "Sidney looks to the voice. The camera is pulled away to\n reveal...\n \n \n DEREK", "Sidney is one of them. She moves around the stage, very\n animated. More alive than ever. She dons a Russian\n accent. Convincing. A promising actress.", "Sid sits at a terminal busy at work. Her two police\n guards wander up and down the cubicles keeping an eye\n out.", "SIDNEY (CONT'D)\n Wanna get outta here?\n \n CUT TO:", "SIDNEY (CONT'D)\n Cotton...\n \n He moves to her.\n \n COTTON", "Sidney distracts the Ghost. She takes off, the Ghost\n following her. She moves around the tree, sprinting\n across the yard, running smack into...", "Sidney!\n \n \n ON STAGE\n \n They all turn, spotting Gale. Sid moves forward, happy", "People begin to stand, moving to the windows and front\n door. Sidney looks to Derek.", "SIDNEY\n Hallie?\n \n But Hallie doesn't hear her. Sid races forward.", "SIDNEY (CONT'D)\n Randy? What are you doing here?\n \n But then she sees someone else, standing off to the", "Sidney, determined, raises the shovel high and brings\n it down with great force. It CRACKS the lock, loosening\n it.", "Sidney makes her break, she runs passed them, towards\n the front of the yard.\n \n Mickey leaps to his feat. The Killer right behind him.", "SIDNEY (CONT'D)\n Hallie?\n \n Sidney moves down front to the little bridge that" ], [ "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "GHOST MASKED FIGURE appears in his path. Phil steps\n back, surprised. Suddenly, a flash of silver shoots", "Dewey SCREAMS for his life, caught completely off\n guard. He falls forward onto the control panels.\n Suddenly, microphone feedback tears through the studios", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "Maureen turns to find a GHOST MASK in her face. Phil\n has slipped it on.\n \n MAUREEN", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "ON SCREEN\n \n The Ghost advances on the young girl, grabbing her,\n pulling her to him, raising high a long, hunting knife.", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "IN THE THEATER\n \n The knife slices into Maureen again... then again. The\n theatre audience is starting to take note as the Ghost", "A movie is in progress. STAB.\n \n \n ON SCREEN", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "Gale moves out a side door and into a dubbing room.\n Darkness everywhere Gale stops for a second, listening" ], [ "ahead, WINCING at what's about to happen to the girl on\n screen.\n \n She doesn't notice as Phil pulls a long sharp hunting", "INT. GIRL'S RESTROOM - SAME\n \n A large bathroom. Five stalls line one wall. The door", "CREAKS open. Maureen enters and shoots for a stall.\n \n \n INSIDE THE STALL - MOMENTS LATER", "forth as Phil is pierced with a long sharp knife. Quick\n and silent. He bellies over just as the Ghost Shape\n strikes again. Phil goes down without a scream.", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "PHIL\n Butter.\n \n Maureen moves up the stairs out of sight. Phil turns,\n reaching for the bathroom door just as a...", "are heard. Loud and heavy.\n \n Maureen eyes the crack in the stall door. Not much is", "hung from a tree and gutted.\n \n The room goes quiet. Dewey watches from the back of the\n room. His eyes burning holes into Gale.", "stall door open and rushes out to find...\n \n THE BATHROOM EMPTY.", "Phil ignores her. She reaches over in the darkness\n putting her hand on his knee. She inches it up. The\n Ghost-masked Phil just stares ahead.", "A small lounge leads to two bathroom doors. Very low\n lighting. Maureen descends the stairs, heading for\n the...", "He looks around the room, up to the two levels above\n them. He spots a small light on the second level. He\n squints his eyes and sees a FIGURE standing behind it.", "Maureen finishes up, fastening her pants. Suddenly, the\n bathroom door CREAKS open. Maureen listens. FOOTSTEPS", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained.", "The stall doors are all closed. Maureen shoots for the\n door. She rips the door open as a FIGURE rushes her...", "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "Dewey SCREAMS for his life, caught completely off\n guard. He falls forward onto the control panels.\n Suddenly, microphone feedback tears through the studios", "She turns her attention to Phil.\n \n MAUREEN\n Hey, you... pasty face...", "He kisses her again.\n \n CUT TO:\n \n \n INT. STUDENT UNION - LATER", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his" ], [ "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "Who sits with the mask on. The reflection from the\n movie bouncing against it in the darkness.\n \n MAUREEN\n Give it up.", "ON SCREEN\n \n The young girl lets out an enormous EAR SCREECHING\n SCREAM that mirrors Maureen's as the killer attacks one", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "He nods. Maureen stands and moves up the aisle.\n \n \n INT. LOBBY - SECONDS LATER", "her hand back, the reflected movie illuminating bloody\n fingers.\n \n Maureen stares at her hand...", "IN THE THEATER\n \n Everyone in the theater is SCREAMING. Maureen tries her", "Maureen and Phil find aisle seats down towards the\n screen just as the lights DIM. People FAKE SCREAM in\n terror. A very lively crowd.", "IN THE THEATER\n \n Popcorn flies as Maureen falls forward, into the aisle,\n clutching her bloody stomach. She's speechless, unable", "IN THE THEATER\n \n Maureen pretends to watch the movie while her hand\n continues to move between Phil's legs. She stares", "IN THE THEATER\n \n The knife slices into Maureen again... then again. The\n theatre audience is starting to take note as the Ghost", "A sustained moment. A stand off. Sidney doesn't move.\n But then the killer withdraws his trademark. A long,\n steel hunting knife... blood stained.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "knife from inside his coat jacket. Maureen's hand moves\n up Phil's jacket... something stops her. She feels\n something on her fingers... something wet. She pulls", "She sits down, with the popcorn.\n \n MAUREEN\n How many stabs did I miss?", "chilling sight that leaves Maureen extremely spooked.\n \n \n ON SCREEN" ], [ "The Ghost slashes out one last time, direct and fierce.\n Maureen falls back against the movie screen... very\n much dead. Her arms flail across the screen... smearing", "IN THE THEATER\n \n Everyone in the theater is SCREAMING. Maureen tries her", "one clutching the hunting knife.\n \n Maureen sees it, her mouth billowing forth a LOUD\n SCREAM that is matched by the entire audience as they", "Maureen looks behind her, toward the rest of the\n audience. A sea of white ghost faces fill the theatre.\n The publicity masks actually glow in the dark. A", "IN THE THEATER\n \n The knife slices into Maureen again... then again. The\n theatre audience is starting to take note as the Ghost", "IN THE THEATER\n \n Maureen is helpless. The knife comes fast and furious,", "IN THE THEATER\n \n Popcorn flies as Maureen falls forward, into the aisle,\n clutching her bloody stomach. She's speechless, unable", "Maureen emerges from the theatre and into the small\n lobby. It is dark and shadowed. She moves down a long\n hallway to a staircase. A \"BATHROOM\" sign with an arrow", "keeps slashing at her repeatedly with the knife. A\n horrifying, sickening sight.\n \n Maureen stumbles forward, her bloody body moving down", "Maureen, swaying from side to side, turns to the crowd\n and emits a HORRENDOUS BLOOD CURDLING SCREAM as...", "ON SCREEN\n \n The young girl lets out an enormous EAR SCREECHING\n SCREAM that mirrors Maureen's as the killer attacks one", "Maureen and Phil find aisle seats down towards the\n screen just as the lights DIM. People FAKE SCREAM in\n terror. A very lively crowd.", "her hand back, the reflected movie illuminating bloody\n fingers.\n \n Maureen stares at her hand...", "The crowd is really with the movie. Some even talk to\n the screen. \"You dumb bitch. Get out of the house.\"\n etc.", "Maureen looks at Phil, confused... as if seeing for the\n first time... IT'S NOT PHIL. She pulls away when, the\n Ghost-masked Figure grabs her with one hand, the other", "You tell me.\n \n \n IN THE THEATRE\n \n Maureen is not having a good time. She's already", "INT. THEATRE - A MINUTE LATER\n \n The small theatre is nearly packed to capacity. Maureen\n and Phil enter, moving down the aisle searching for two", "IN THE THEATER\n \n Maureen pretends to watch the movie while her hand\n continues to move between Phil's legs. She stares", "chilling sight that leaves Maureen extremely spooked.\n \n \n ON SCREEN", "Who sits with the mask on. The reflection from the\n movie bouncing against it in the darkness.\n \n MAUREEN\n Give it up." ], [ "Sid sits at a terminal busy at work. Her two police\n guards wander up and down the cubicles keeping an eye\n out.", "and going. Dressed smartly in a campus security outfit,\n Dewey maneuvers the cart across the campus grounds.\n Sidney rides beside him, horrified as she listens to", "Sidney takes notice as the car turns onto another\n campus street. Big, stone school buildings line each\n side of a thin, road.", "Sid nods as she watches the officers arrest him. They\n do a body search, pulling from his coat a large\n revolver. Cotton just smiles.", "Sidney looks to the voice. The camera is pulled away to\n reveal...\n \n \n DEREK", "Sidney is one of them. She moves around the stage, very\n animated. More alive than ever. She dons a Russian\n accent. Convincing. A promising actress.", "side. A man she recognizes immediately. He looks at;\n her, his face sullen, broken. Sidney loses her breath.", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls,", "Sid wastes no time. She takes off, running around the\n side of the building. She stops, takes a breath, but\n the reporters are on her tail. She looks up to see a...", "Dewey listens to this exchange, slowly stepping\n forward.\n \n DEWEY\n Sidney Prescott, sir.", "Sidney grows increasingly uneasy.\n \n CUT TO:", "SIDNEY (CONT'D)\n Oh God, help me. We have to call\n the police.", "The onslaught continues. Cameras flash, reporters\n shove. Gale moves in front of Sid, holding the crowd at\n bay. The reporters begin to throw questions at Gale.", "Sidney watches as Randy shoves off, disappearing across\n campus. Sid turns to find Derek leaning against a pole.\n \n DEREK", "Sidney distracts the Ghost. She takes off, the Ghost\n following her. She moves around the tree, sprinting\n across the yard, running smack into...", "Sidney, determined, raises the shovel high and brings\n it down with great force. It CRACKS the lock, loosening\n it.", "The class stews on this. Derek turns, spotting Sidney\n in the back of the room. She gives a half wave. He\n starts for her, excusing himself.", "INT. SQUAD CAR - SAME\n \n Sidney sits in the backseat. The two police officers\n ride in front.", "SIDNEY\n Watch out.\n \n Sid lifts the shovel up and brings it down directly on", "SIDNEY (CONT'D)\n Randy? What are you doing here?\n \n But then she sees someone else, standing off to the" ], [ "INT. SQUAD CAR - SAME\n \n Sidney sits in the backseat. The two police officers\n ride in front.", "Sid SCREAMS as the Police Guard behind the wheel\n struggles with his seat belt. He looks up to see a\n Ghost Masked Figure move around the side of the car", "car in drive and takes off down the road.\n \n Sidney looks behind her as the guard's dead bodies lay\n sprawled in the middle of the road. She turns to the", "POLICE GUARD #1\n We feel like Kevin Costner.\n \n Sidney smiles at this just as the car door rips open on", "SIDNEY\n Hallie?\n \n But Hallie doesn't hear her. Sid races forward.", "hands the phone to Sidney.\n \n HALLIE\n Knock yourself out.\n \n SIDNEY", "theatre. Behind them sit Sid's trusting police guards.\n Sidney shifts in her seat.\n \n RANDY\n You okay, Sid?", "Sid nods as she watches the officers arrest him. They\n do a body search, pulling from his coat a large\n revolver. Cotton just smiles.", "SIDNEY (CONT'D)\n Oh God, help me. We have to call\n the police.", "The actors break up as Sidney, frustrated, walks across\n a make shift bridge that takes her across the orchestra\n pit and down the stairs into the house where Hallie", "SIDNEY (CONT'D)\n Wanna get outta here?\n \n CUT TO:", "Sid wastes no time. She takes off, running around the\n side of the building. She stops, takes a breath, but\n the reporters are on her tail. She looks up to see a...", "Sid sits at a terminal busy at work. Her two police\n guards wander up and down the cubicles keeping an eye\n out.", "SIDNEY (CONT'D)\n Hallie?\n \n Sidney moves down front to the little bridge that", "SIDNEY\n Where are you taking me?\n \n POLICE GUARD #1", "the passenger's side. Two hands reach in and yank\n Police Guard #2 from the car. He starts to CRY OUT but\n it's cut short.", "She gives Sidney a hug before she can object, then she\n and Joel race out into the hallway as Dewey sticks his\n head in.", "Sidney says nothing. She egdes away, moving to the wall\n where Hallie hangs.\n \n DEREK (CONT'D)", "All is still. In the backseat, Sidney rises from the\n floorboards. She looks up to see the Ghost Masked\n figure slumped over the steering wheel. Out.", "Sidney distracts the Ghost. She takes off, the Ghost\n following her. She moves around the tree, sprinting\n across the yard, running smack into..." ], [ "much deadk, arms outstretched, crucified. His body a\n bloody mess. Sidney stops, stunned. She stands frozen\n in unspeakable horror. Her entire being ripped apart.", "Sidney looks to the voice. The camera is pulled away to\n reveal...\n \n \n DEREK", "The class stews on this. Derek turns, spotting Sidney\n in the back of the room. She gives a half wave. He\n starts for her, excusing himself.", "SIDNEY\n NOOO!\n \n Cotton moves to Derek's body where the video camera\n lay, he pulls the tape from it.", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "Sidney grows increasingly uneasy.\n \n CUT TO:", "door. Derek beats on it from outside.\n \n \n IN THE FOYER\n \n SIDNEY", "Sidney says nothing. She egdes away, moving to the wall\n where Hallie hangs.\n \n DEREK (CONT'D)", "INT. CORRIDOR - SAME\n \n Derek and Sidney move out into the hallway. Derek\n throws his arms around her protectively.", "Sid returns to Mickey who has risen to his feet. He's\n pulling and twisting the bike chain that binds him.", "ON STAGE\n \n Derek grabs Sidney, holding her, the knife at her\n throat.", "Sid is paniced. She doesn't know what to do. She leans\n down to untie him but stops.\n \n VOICE", "Sidney moves to the shed that's attached to the garage.\n Leaning against the side are a row of garden tools. Sid\n settles on a shovel.", "CUT TO:\n \n \n INT. SIDNEY'S DORM ROOM - EVENING", "side. A man she recognizes immediately. He looks at;\n her, his face sullen, broken. Sidney loses her breath.", "Derek releases Sidney, shoving her, she falls to her\n knees, next to Cotton.", "COTTON\n Please, Sidney, he's going to kill\n us.\n \n Derek begins filming again.", "SIDNEY (CONT'D)\n Wanna get outta here?\n \n CUT TO:", "SIDNEY\n No. This is a set up.\n \n DEREK\n That's quick.", "Cotton pull and twists on his bound wrists. Sid had\n loosened them somewhat. He tries to finish undoing\n them." ], [ "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "Sidney mouth drops, her face aghast, as she looks to\n Debbie Salt. She recognizes her immediately.\n \n SIDNEY", "Salt heading her off. She tries to bolt but she's not\n fast enough.\n \n DEBBIE SALT", "Cotton looks up.\n \n DEBBIE SALT (CONT'D)\n Think about it. An innocent man", "DEBBIE SALT\n standing, lips pursed.\n \n DEBBIE SALT\n Hello, Gale, we've been waiting for", "You're Billy's mother?\n \n DEBBIE SALT\n I couldn't believe you didn't\n recognize me. You even interviewed", "SIDNEY\n Oh my God.\n \n Gale turns to Debbie Salt.\n \n GALE", "Debbie Salt/Mrs. Loomis looks to both Derek and Hallie,\n smiling.\n \n DEBBIE SALT", "Gale spins around to find DEBBIE SALT, the flashy\n reporter who she decked earlier, standing in front of\n her.", "DEBBIE SALT\n Who would you like to shoot first,\n Cotton?", "DEBBIE SALT\n Already did. He's the perfect\n suspect, don't you think?\n \n GALE", "Why Mrs. Loomis?\n \n DEBBIE SALT\n Where should we start? Your mother\n ruined my marriage by sleeping with", "GALE\n Do I know you? You look familiar.\n \n DEBBIE SALT", "GALE\n Look, I'm sorry about the face.\n \n DEBBIE SALT\n Job hazard. Debbie Salt, stringer -", "No... not again.\n \n DEBBIE SALT\n Sorry, Cotton. I guess you were\n just meant to be a killer.", "But you'll never get away with it.\n \n DEBBIE SALT\n Enter Cotton Weary.", "SIDNEY\n You'll never get away with this.\n \n Debbie moves to Cotton, shrugging.", "very soul. The Voice comes from the wings. They all\n turn as Gale Weathers appears. Behind her, with gun in\n hand, is Debbie Salt. Derek grabs the camera. He", "Well, you know I'm dear to the\n subject matter.\n \n DEBBIE SALT\n And much richer as a result.", "DEBBIE SALT\n Nice kids but a little out there.\n \n GALE" ], [ "Just then, Cotton leans up, freed from his bindings.\n With the knife in hand, he lunges for Debbie Salt. It\n strikes her, lodging into her chest. She goes back.", "And then, Cotton's body falls forward to the floor, his\n arms and legs bound by electric tape.\n \n Sid turns back to the front of the stage. The Figure is", "Cotton doesn't stop, he stabs her again and again. She\n goes down. Dead.\n \n GALE\n Thank God.", "It's over, Cotton.\n \n COTTON\n Not until you're dead.", "And with that, Cotton flips on a dime. His face turns\n evil. Sidney races by him as he throws out his arm,\n stopping her just as...", "Mrs. Loomis?\n \n Gale stops cold.\n \n GALE\n What?", "Sid nods as she watches the officers arrest him. They\n do a body search, pulling from his coat a large\n revolver. Cotton just smiles.", "God, Cotton, what a nightmare. I'm\n so sorry.\n \n COTTON\n Yeah...", "COTTON\n You guys are fucked.\n \n HALLIE\n Actually Cotton, and I think", "This time dropping. Very dead. His body falls near\n Cotton who has remained suspiciously quiet through this\n ordeal. He eyes Derek's knife that now lay near his", "Cotton looks up.\n \n DEBBIE SALT (CONT'D)\n Think about it. An innocent man", "Why Mrs. Loomis?\n \n DEBBIE SALT\n Where should we start? Your mother\n ruined my marriage by sleeping with", "Debbie turns the gun on him. FIRES AGAIN. Derek moves,\n the bullet catches him in the stomach. He drops to his\n knees. Debbie FIRES again. Derek takes another bullet.", "SIDNEY\n NOOO!\n \n Cotton moves to Derek's body where the video camera\n lay, he pulls the tape from it.", "DEBBIE SALT\n Who would you like to shoot first,\n Cotton?", "Sidney turns just in time to see Cotton toss Gale's\n body down into the orchestra pit. He turns, facing\n Sidney. The bloody knife in hand.", "COTTON\n It's perfect, Sidney. No one will\n ever suspect me. I have proof. I'm\n the victim.", "Cotton. Hmmm? Hmmm?\n \n Suddenly, Hallie comes to life behind Sid, reaching", "SIDNEY\n You'll never get away with this.\n \n Debbie moves to Cotton, shrugging.", "COTTON\n There was no attack, we were\n talking. Very heatedly. Miss\n Prescott and I have a very" ], [ "Sidney takes notice as the car turns onto another\n campus street. Big, stone school buildings line each\n side of a thin, road.", "CUT TO:\n \n \n INT. SIDNEY'S DORM ROOM - EVENING", "SIDNEY\n Thanks, Joel.\n \n Joel smiles, heading out as the two sorority girls,", "side. A man she recognizes immediately. He looks at;\n her, his face sullen, broken. Sidney loses her breath.", "Sidney is one of them. She moves around the stage, very\n animated. More alive than ever. She dons a Russian\n accent. Convincing. A promising actress.", "Sidney moves to the shed that's attached to the garage.\n Leaning against the side are a row of garden tools. Sid\n settles on a shovel.", "The class stews on this. Derek turns, spotting Sidney\n in the back of the room. She gives a half wave. He\n starts for her, excusing himself.", "Sidney looks to the book bag on the seat beside her.\n She rips it open, rustling through it frantically. She\n pulls books, pencils, paper... Sid grabs a long, yellow", "Sidney grows increasingly uneasy.\n \n CUT TO:", "and going. Dressed smartly in a campus security outfit,\n Dewey maneuvers the cart across the campus grounds.\n Sidney rides beside him, horrified as she listens to", "Sid sits at a terminal busy at work. Her two police\n guards wander up and down the cubicles keeping an eye\n out.", "SIDNEY (CONT'D)\n Cotton...\n \n He moves to her.\n \n COTTON", "Sid wastes no time, she moves along the wraparound\n porch, beating at the windows. But nothing. Everybody\n is off partying. Suddenly, Sid hears something. A", "SIDNEY\n Watch out.\n \n Sid lifts the shovel up and brings it down directly on", "Sid contemplates, not knowing what to do. She leaves\n them, moving down off the porch and around to the back\n of the house. She gets to the back door, tries it. It's", "Sidney, determined, raises the shovel high and brings\n it down with great force. It CRACKS the lock, loosening\n it.", "JOEL\n I gotta hit the library. Anatomy.\n Some of us have real majors. You\n gonna be okay, Sid?", "Sidney races down the deserted street. Not a soul in\n sight. She reaches a corner, moves off the road and\n passes through a series of trees and shrubs, coming out", "of FILM STUDENTS sit around on torn couches heavy in\n discussion. Sid goes unnoticed as she watches a\n whirlwind debate. A SNOTTY GUY is pontificating a", "Sidney is trying to focus on homework while Hallie\n channel surfs. She finds a channel. On screen, Siskel a\n Ebert are reviewing a movie." ] ]

[ "What murders are depicted in Stab?", "What year of college were Maureen and Phil in?", "What state was Maureen and Phil's school in?", "Who murders Maureen and Phil?", "Where was Phil when he was stabbed?", "How was Phil killed?", "Where was Phil stabbed?", "How was Maureen killed?", "What was Phil doing in the bathroom when he was killed?", "What happens to Phil when he is eavesdropping to strange noises?", "What is Sidney Prescott's major?", "Who attempts to stage a confrontation between Sidney and Cotton?", "Where do Sidney and Hallie attend a party at?", "Who gets hurt at the party at the sorority house?", "What does Gale do when Ghostface appears while her and Dewey are watching the tape of Randy?", "What happens to the two officers driving Sidney and Hallie to the police station?", "Where does Sidney find Derek tied to a crucifix?", "What causes Gale to fall off stage?", "When the press arrive, who does Sidney direct them to?", "Where is Phil when he gets stabbed in the ear? ", "What is Phil doing in the bathroom stall when he gets stabbed?", "What outfit is the killer wearing when he sits beside Maureen in the cinema?", "What do the audience think is happening when Maureen gets killed in the cinema?", "What is the name of the officer who arrives at Windsor campus to help Sidney? ", "What happens to the police officers who are driving Sidney and Hallie to the police station?", "Where does Sidney find Derek tied to a crucifix? ", "Who was Debbie Salt?", "What part of the body was Mrs Loomis shot in by Cotton?", "What subject is Sidney majoring in at college?" ]

[ [ "Woodsboro murders", "The Woodsboro murders" ], [ "senior", "Seniors" ], [ "Ohio", "ohio" ], [ "Ghostface", "Ghostface murders Maureen and Phil, though it could be argued, that is Mrs. Loomis in the end." ], [ "bathroom", "Movie theater bathroom stall." ], [ "stabbed", "He was stabbed through the ear." ], [ "through the ear", "In the ear" ], [ "stabbed", "stabbing" ], [ "trying to eavesdrop on strange whimpering noises", "Listening to the next stall" ], [ "He is stabbed in the ear.", "He is stabbed in the ear" ], [ "Theater", "theatre" ], [ "Gale", "Gale." ], [ "A sorority house", "sorority house" ], [ "Derek", "Derek gets hurt at the sorority house." ], [ "She hides and later escapes.", "She hides from Ghostface and manages to escape" ], [ "They are killed.", "The killer ambushes the two of them and kills them." ], [ "The auditorium.", "Campus auditorium." ], [ "A gunshot", "Mickey accidentally shoots her." ], [ "Cotton", "Cotton" ], [ "In a bathroom stall.", "Phil was in the bathroom." ], [ "Trying to eavesdrop on whimpering noises.", "eavesdropping" ], [ "A Ghostface outfit.", "Ghostface" ], [ "They think it's part of the acting", "That audience members are acting out" ], [ "Dewey Riley.", "Dewey Riley" ], [ "They are killed", "They were ambushed and killed by the killer." ], [ "In the auditorium on the college campus.", "In the auditorium" ], [ "Billy Loomis' mother", "Billy Loomis' mom." ], [ "The throat", "Mrs. Loomis was shot in the throat." ], [ "Theater", "Sidney is majoring in theatre at college." ] ]

[ [ "HOLMES\n Dr. Watson is the handsome one.\n\nWatson, pleased, twirls the end of his mustache.\nGabrielle sways slightly.", "She extends her hand, and Holmes takes it.\n\n HOLMES\n Madame.\n\nHe kisses her hand. Petrova appraises him from head to\ntoe, and back again.", "HOLMES\n The answer is yes.\n (a relieved sigh from Watson)\n You're being presumptuous.\n (Watson's face falls)\n Good night.", "HOLMES\n None whatsoever. If you must know, I\n found her body quite rewarding.\n\n WATSON\n You cad!", "As they burst into the room, they see Holmes sitting on\nthe stool beside the chemistry table, a revolver in his\nhand. He has shattered one of the narcotics bottles on\nthe mantelpiece, and is aiming at a second one.", "Watson resumes working on his manuscript. Suddenly the\nmusic stops. Watson looks up apprehensively. Holmes has\nput down the violin, and is crossing to the sideboard.", "As Watson glares at him, the door opens and Mrs. Hudson\ncomes bustling in. Holmes hides the hypodermic behind\nhis back.", "She exits, shutting the door. For a while, the two go on\nworking. Then Holmes rises abruptly from the chemistry\ntable.\n\n HOLMES\n She's right. I am suffocating.", "Holmes is stretched out in the upper berth, which is in\ndarkness. In the lower, Gabrielle is propped up against\na pillow, reading a magazine by the light of a gas lamp.\nOther magazines are scattered across her blanket.", "He has slit open the envelope. Watson watches him\ncuriously as he reads the letter, but Holmes' face\nremains expressionless. Slowly he puts down the letter,", "As she extends her right hand to him, in a beckoning\ngesture, Holmes notices something on the palm. He takes\nher hand in his. There, in the same green ink as the", "HOLMES\n Now we're getting somewhere.\n\nAs he examines the envelope, Watson takes out a framed\nphoto of a rather attractive man of fifty.", "He hands Holmes a small, framed photograph. Holmes looks\nat it with apprehension, as well he should: the picture\nis of a somewhat matronly woman, not the glamorous", "HOLMES\n Well, for one thing, I'd get rid of that\n flower.\n\nHe points to the flower behind Watson's ear. Watson\ngrabs the flower, hurls it into the fireplace.", "her to the floor. For a brief moment he keeps his arms\naround her. Watson has now squeezed through the\nskylight.", "HOLMES\n I've often been accused of being cold and\n unemotional. I admit to it. And yet, in\n my cold, unemotional way, I'm very fond\n of you, Watson.", "HOLMES\n Go on.\n\nAs Mycroft continues, Holmes picks up Ilse's water-soaked\nparasol and examines it.", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "WATSON'S VOICE\n He was the most brilliant man I have ever\n known -- and I dare say people have\n envied me for sharing that flat with him\n in Baker Street.", "(embracing him)\n Hold me. Hold me tight.\n (Holmes puts his arms around\n her)" ], [ "(a sob from Gabrielle)\n Which leads me to believe that the cause\n of death was not drowning...\n (Gabrielle is now crying)", "Gabrielle are in the passenger seat, their luggage is\nstrapped to the back. Through the trees which line the\nroad we glimpse Loch Ness, which is partly obscured by a", "Gabrielle bursts into sobs.", "In the half-light, Gabrielle can be seen asleep in her\nbed. She is wearing the pink negligee with the maribou\nfeathers, which has slipped halfway off her shoulders.\nThe other bed has not been slept in.", "GABRIELLE\n (concentrating -- then)\n Non, je ne suis pas Francaise.\n\n WATSON\n How can she say she's not French, in\n French?", "GABRIELLE\n A bee.\n\nShe continues to work the parasol, alternately opening it\nand partially closing it.", "Gabrielle appears from Holmes' bedroom wearing Holmes'\ndressing gown. She is unsteady on her feet and somewhat\ndazed. Holmes looks up.", "GABRIELLE\n Did you hear what she said? You really\n think Emile is going to pick up the\n letter himself?", "MRS. HUDSON\n Come, my dear.\n\nShe puts her arm around Gabrielle, who is still crying,\nleads her into Watson's bedroom.", "The carriage is moving away from the hotel. Gabrielle\nhas her parasol over her shoulder, and it opens and\ncloses, opens and closes.\n\n\nGABRIELLE - IN MOVING CARRIAGE - DAY", "Gabrielle glances casually at the letter the old woman\nleft lying on top of the cage, and her expression\nchanges.", "Bright sunlight now floods the room. Gabrielle, fully\ndressed, is standing in front of the mirror, putting on", "GABRIELLE\n (a beat, then shakes her\n head)\n No.", "GABRIELLE\n (slight accent)\n I don't know.\n\n CABBIE\n That's all she keeps saying -- I don't\n know, I don't know.", "He crosses to the desk, picks up a sheet of paper and an\nenvelope, then leads Gabrielle over to the chair with the\nwriting arm, seats her in it.", "GABRIELLE\n Emile?\n\nHolmes looks up as Gabrielle appears in the open doorway.", "HOLMES\n (to Gabrielle)\n Are you French?\n (in Berlitz French)\n Vous etes Francaise?", "Gabrielle is sitting in the stern of a rowboat, her\nparasol in her lap. She is wearing Holmes' Norfolk\njacket over her dress to ward off the chill.", "CABBIE\n Thank you, guv'nor.\n\nHe snatches the blanket off Gabrielle, revealing that her\ndress is clinging to her damply.", "HOLMES\n Come in, Madame Valladon.\n (Gabrielle stops)\n You are Gabrielle Valladon.\n\n GABRIELLE\n Yes." ], [ "(a sob from Gabrielle)\n Which leads me to believe that the cause\n of death was not drowning...\n (Gabrielle is now crying)", "GABRIELLE\n I don't know.\n\n HOLMES\n What happened at the river? Think!\n Pensez! Concentrez vous!", "Gabrielle is sitting in the stern of a rowboat, her\nparasol in her lap. She is wearing Holmes' Norfolk\njacket over her dress to ward off the chill.", "CABBIE\n Thank you, guv'nor.\n\nHe snatches the blanket off Gabrielle, revealing that her\ndress is clinging to her damply.", "CABBIE\n From the river. I was driving down the\n Embankment, just below Westminster\n Bridge, and there she was in the water --\n drowning.", "cabbie who fished Gabrielle out of the river, and in the\npassenger seat is Von Tirpitz, the craggy-faced Prussian\nwe saw before. He stares fixedly after Holmes and", "Gabrielle bursts into sobs.", "Holmes is the first to come up, looks around, sees\nGabrielle surfacing a few yards away, swims to her.\n\n HOLMES\n Are you all right?", "Gabrielle are in the passenger seat, their luggage is\nstrapped to the back. Through the trees which line the\nroad we glimpse Loch Ness, which is partly obscured by a", "In the half-light, Gabrielle can be seen asleep in her\nbed. She is wearing the pink negligee with the maribou\nfeathers, which has slipped halfway off her shoulders.\nThe other bed has not been slept in.", "Gabrielle for a moment, then quietly pulls the door shut.\nAs the latch clicks into place, Gabrielle awakes and sits\nup in bed, her back to CAMERA. She is nude.", "As Gabrielle hoists herself into the boat, Watson\nclambers over the other side. After a moment Holmes\njoins them, and they sit there, sopping wet and breathing\nheavily.", "Bright sunlight now floods the room. Gabrielle, fully\ndressed, is standing in front of the mirror, putting on", "Gabrielle tearfully removes her ring, hands it to Holmes.\nFrom his vest pocket he now produces Valladon's ring --", "GABRIELLE\n I don't know how I'm going to pay you for\n all this. The purse with my money is\n somewhere at the bottom of the Thames.", "He crosses to Gabrielle's bed, looks down at her for a\nlong moment, adjusts the negligee with the tip of the\nparasol. The he moves to the French window, opens it,\nglances out.", "He crosses to the desk, picks up a sheet of paper and an\nenvelope, then leads Gabrielle over to the chair with the\nwriting arm, seats her in it.", "Gabrielle looks at Holmes. CAMERA PANS UP TOWARD an iron\nfootbridge, spanning the railway tracks. Moving across", "He opens her suitcase, which is on the baggage rack at\nthe foot of the bed. Gabrielle watches him for a beat,\nthen crosses to the wardrobe, starts taking her clothes\nout.", "MRS. HUDSON\n Come, my dear.\n\nShe puts her arm around Gabrielle, who is still crying,\nleads her into Watson's bedroom." ], [ "On the upper part of the ramp is a small, primitive\nsubmarine, resting on wheels. Prominently lettered on", "inflating and deflating, etc. The midgets are at their\nstations in the cramped quarters, pulling switches,\noiling the engines, operating the periscope. Overhead is", "There is the sound of the engines starting. Mycroft\nleads the Queen to an open bulkhead in the side of the\nsub, with Holmes and rest of the party close behind.", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "Inside, all is noise and confusion. Metal rods are\ndipping into glass jars of sulphuric acid, complicated\nmachinery is driving the propeller shaft, bellows are", "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "MYCROFT\n We call it a submersible, Ma'am. It\n travels under water.\n\n QUEEN VICTORIA\n Under water? What a fantastic idea.", "WATSON\n What is it?\n\n HOLMES\n I can hear something...\n\nWe become aware of the faint beating of engines,\naccompanied by a bubbling sound.", "MYCROFT\nNot quite that unique. Right now, four\ncountries are trying to develop what we\ncall a submersible. But none of them\ncould solve the critical problem -- how\nto stay submerged long enough to make it\neffective.", "HOLMES\nI think you're testing some sort of\nunderwater craft -- camouflauged to", "MYCROFT\n Something of the sort... The crew will\n now demonstrate the workings of the\n submersible.\n\nA SAILOR of normal height appears on the deck of the sub.", "QUEEN VICTORIA\n You mean in can fire at other vessels\n while under water?\n\n MYCROFT\n Yes, Ma'am.", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "A trial of bubbles is moving along the surface. Suddenly\nthere is a muffled explosion from below, and a geyser of\nwater shoots up into the air.\n\n\nEXT. BALCONY - HOTEL - DAY", "fifty, and his name is VON TIRPITZ. He looks up toward\nthe Holmes flat. As the hansom makes a U-turn and comes", "The monster has started to submerge. Its head disappears\nbeneath the surface of the water, and the wake it leaves\nbehind soon trails off into the mist.\n\nHolmes ships his oar.", "HOLMES\nBetter than that. We're going to let\nthem have the submersible. They will\nfind it with its engines running, all set", "bit damp, I'm afraid -- would you care to\n let them know where they can find the\n submersible?\n (Gabrielle makes no move to", "What he has uncovered is a large cage -- and about a\nhundred canaries, suddenly disturbed, are flapping around\nunside.", "It is dusty, cobwebby, quite forbidding. In the rear\nwall is a closed sliding door, indented about a foot into\nthe shop. Nearby stands a large, square object, covered\nwith a tarpaulin." ], [ "On the upper part of the ramp is a small, primitive\nsubmarine, resting on wheels. Prominently lettered on", "inflating and deflating, etc. The midgets are at their\nstations in the cramped quarters, pulling switches,\noiling the engines, operating the periscope. Overhead is", "MYCROFT\n We call it a submersible, Ma'am. It\n travels under water.\n\n QUEEN VICTORIA\n Under water? What a fantastic idea.", "HOLMES\nI think you're testing some sort of\nunderwater craft -- camouflauged to", "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "The monster has started to submerge. Its head disappears\nbeneath the surface of the water, and the wake it leaves\nbehind soon trails off into the mist.\n\nHolmes ships his oar.", "There is the sound of the engines starting. Mycroft\nleads the Queen to an open bulkhead in the side of the\nsub, with Holmes and rest of the party close behind.", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "QUEEN VICTORIA\n You mean in can fire at other vessels\n while under water?\n\n MYCROFT\n Yes, Ma'am.", "MYCROFT\n Something of the sort... The crew will\n now demonstrate the workings of the\n submersible.\n\nA SAILOR of normal height appears on the deck of the sub.", "the bow is the name H.M.S. JONAH, and suspended by a rope\nfrom the prow is the magnum of champagne which Holmes\ndelivered. Along the sides are torpedo tubes, and fitted", "MYCROFT\n The Admiralty regards this craft as the\n ultimate weapon in naval warfare. It can\n seek out enemy ships and destroy them --\n with these torpedoes -- while remaining\n completely invisible.", "bit damp, I'm afraid -- would you care to\n let them know where they can find the\n submersible?\n (Gabrielle makes no move to", "A trial of bubbles is moving along the surface. Suddenly\nthere is a muffled explosion from below, and a geyser of\nwater shoots up into the air.\n\n\nEXT. BALCONY - HOTEL - DAY", "WATSON\n What is it?\n\n HOLMES\n I can hear something...\n\nWe become aware of the faint beating of engines,\naccompanied by a bubbling sound.", "MYCROFT\nNot quite that unique. Right now, four\ncountries are trying to develop what we\ncall a submersible. But none of them\ncould solve the critical problem -- how\nto stay submerged long enough to make it\neffective.", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "QUEEN VICTORIA\n Ah, the ceremonies are about to begin.\n (to Mycroft)\n Now where is this underwater ship of\n yours?", "monster toward the ceiling, disclosing the conning tower\nand the periscope.", "MYCROFT\n This is the main engine, which propels it\n under water at the rate of two knots --" ], [ "He crosses to Gabrielle's bed, looks down at her for a\nlong moment, adjusts the negligee with the tip of the\nparasol. The he moves to the French window, opens it,\nglances out.", "In the half-light, Gabrielle can be seen asleep in her\nbed. She is wearing the pink negligee with the maribou\nfeathers, which has slipped halfway off her shoulders.\nThe other bed has not been slept in.", "GABRIELLE\n Why did they try to keep me from finding\n my husband? And why was he buried\n anonymously?", "He crosses to the desk, picks up a sheet of paper and an\nenvelope, then leads Gabrielle over to the chair with the\nwriting arm, seats her in it.", "He opens her suitcase, which is on the baggage rack at\nthe foot of the bed. Gabrielle watches him for a beat,\nthen crosses to the wardrobe, starts taking her clothes\nout.", "GABRIELLE\n Yes. He's a mining engineer. We were\n married five years ago, in the Congo.\n\n HOLMES\n Where your husband was working in a\n copper mine.", "HOLMES\n (holding up photo)\n And this is your husband, Emile Valladon?\n\n GABRIELLE\n Yes.", "(a sob from Gabrielle)\n Which leads me to believe that the cause\n of death was not drowning...\n (Gabrielle is now crying)", "MRS. HUDSON\n Come, my dear.\n\nShe puts her arm around Gabrielle, who is still crying,\nleads her into Watson's bedroom.", "The carriage is moving away from the hotel. Gabrielle\nhas her parasol over her shoulder, and it opens and\ncloses, opens and closes.\n\n\nGABRIELLE - IN MOVING CARRIAGE - DAY", "GABRIELLE\n Did you hear what she said? You really\n think Emile is going to pick up the\n letter himself?", "HOLMES\n And your husband's name is Emile?\n\n GABRIELLE\n (vaguely)\n Emile...", "GABRIELLE\n A bee.\n\nShe continues to work the parasol, alternately opening it\nand partially closing it.", "ring similar to Gabrielle's. From the picture of him we\nhave seen earlier, we recognize the face as that of Emile\nValladon.", "He folds the blank sheet of paper, and as Gabrielle\nfinishes addressing the envelope, he inserts the paper in\nit, starts to seal it.", "GABRIELLE\n Emile? Never. He loves me -- and I love\n him.\n\n HOLMES\n So I gathered.", "GABRIELLE\nYou think my husband was involved in all\nthis?\n\n HOLMES\nYes, Madame Valladon. I'm sure of it.", "Bright sunlight now floods the room. Gabrielle, fully\ndressed, is standing in front of the mirror, putting on", "GABRIELLE\n (impatiently)\n I don't know. Come, my love. Come.\n Please.", "CABBIE\n No extra charge for the use of the horse-\n blanket.\n\nHe exits into the street, shutting the door. Gabrielle\nhugs herself for warmth." ], [ "Present are half a dozen naval personnel, commanded by an\nofficer. As the royal party comes down the spiral\nstaircase, the officer snaps to attention. Mycroft is in", "The guide nods to Holmes, who dismounts, starts up the\nsteps, examining the red carpet. As he reaches the top,\nhe looks off.", "An iron gate opens, and two bank guards come in. One of\nthem switches on the lights. On the shelves which line\nthe walls are dusty strong-boxes, document cases, wrapped", "The workman carrying the canary cage, and the two\ncarrying the crate of sulphuric acid are approaching the\ntower. A draw-bridge comes down, and the three men cross\nthe moat and enter the tower.", "A lady-in-waiting and a uniformed equerry have now\ndescended from the coach. Mycroft leads the party up the\nsteps.", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "There is the sound of the engines starting. Mycroft\nleads the Queen to an open bulkhead in the side of the\nsub, with Holmes and rest of the party close behind.", "Watson enjoying himself immensely, Holmes sitting there\ndourly. The red plush curtain at the rear of the box\nparts, and a man in evening clothes and a top hat enters.", "He leads Gabrielle and Watson toward the rear wall, right\nnext to the door. They flatten themselves with their\nbacks to the wall, just as the door slides open --\nconcealing them from view.", "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "The entourage enters the castle courtyard and stops.\nFootmen open the door and bow to the lone passenger.\n\n 118.", "Rogozhin spots the two, detaches himself from a group,\nhurries over to join them.", "Inside, all is noise and confusion. Metal rods are\ndipping into glass jars of sulphuric acid, complicated\nmachinery is driving the propeller shaft, bellows are", "Gabrielle glances past them, and her eyes widen.\n\n GABRIELLE\n (pointing off)\n What's that?\n\nHolmes and Watson turn their heads.", "Footsteps are heard hurrying up the stairs, and after a\nmoment there is a knock on the door. Watson approaches\nthe door, opens it to reveal INSPECTOR LESTRADE -- a", "She starts toward the spiral staircase. The equerry\nprecedes her up the stairs, the lady-in-waiting follows,\nthe scientists trail after them. Mycroft and Holmes\nlinger behind.", "By now some of the girls who are in on the secret are\nwhispering to the male dancers in tights. Their reaction\nis slightly different. They are seeing Watson in a new", "Waiting on top of the steps, outside the tent, are\nMycroft and Holmes. Lined up on the other side of the\ntorch-lit red carpet are half a dozen scientists, in\ntheir best clothes.", "Mycroft comes down the carpeted steps to meet her.\n\n MYCROFT\n Your Majesty.\n\nHe bows. The Queen extends her hand to him, and he\ntouches it.", "While one of the guards dusts the box off, the other cuts\nthe cord with a pair of scissors. He then inserts the\nkey in the lock, turns it, raises the lid -- revealing\nthe dusty contents of the box." ], [ "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "MYCROFT\n We call it a submersible, Ma'am. It\n travels under water.\n\n QUEEN VICTORIA\n Under water? What a fantastic idea.", "There is the sound of the engines starting. Mycroft\nleads the Queen to an open bulkhead in the side of the\nsub, with Holmes and rest of the party close behind.", "QUEEN VICTORIA\n You mean in can fire at other vessels\n while under water?\n\n MYCROFT\n Yes, Ma'am.", "QUEEN VICTORIA\n Ah, the ceremonies are about to begin.\n (to Mycroft)\n Now where is this underwater ship of\n yours?", "QUEEN VICTORIA\n And without showing her colors?\n\n MYCROFT\n Indeed, Ma'am.", "MYCROFT\n The Admiralty regards this craft as the\n ultimate weapon in naval warfare. It can\n seek out enemy ships and destroy them --\n with these torpedoes -- while remaining\n completely invisible.", "QUEEN VICTORIA\n Without any warning?\n\n MYCROFT\n That is correct, Ma'am.", "MYCROFT\n Not necessarily. If the Germans want\n that submersible so badly, why don't we\n give it to them?\n\n HOLMES\n Give it to them?", "Mycroft comes down the carpeted steps to meet her.\n\n MYCROFT\n Your Majesty.\n\nHe bows. The Queen extends her hand to him, and he\ntouches it.", "QUEEN VICTORIA\n (indicating sub)\n Nevertheless, we don't want any part of\n this beastly invention. Get rid of it!\n Scuttle it! The sooner the better.", "QUEEN VICTORIA\n But where is the glass bottom?\n\n MYCROFT\n The what, Ma'am?", "Present are half a dozen naval personnel, commanded by an\nofficer. As the royal party comes down the spiral\nstaircase, the officer snaps to attention. Mycroft is in", "QUEEN VICTORIA\n And what, may we ask, is the purpose of\n that hideous gargoyle?\n\n MYCROFT\n It's merely a decoy, Ma'am.", "MYCROFT\n There she, Ma'am. Her Majesty's Ship\n Jonah.", "121.\n\n\n\nMycroft leads the Queen along the red runner toward the\ntower. Holmes follows, then the lady-in-waiting and the\nequerry, then the scientists.", "MYCROFT\n Yes, Ma'am. These are the levers for\n firing the torpedoes, which are accurate", "HOLMES\n Well, Mycroft, it seems we have both been\n undone by a woman.\n (Mycroft is staring at the\n sub)\n What a shame.", "75.\n\n\n\n MYCROFT\n By the authority of Her Majesty's\n government. I hope I've made myself\n clear.", "123.\n\n\n\n QUEEN VICTORIA\n How charming.\n\n MYCROFT\n The air pump, Ma'am?" ], [ "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "GABRIELLE\nIt's von Hoffmanstal.\n\n HOLMES\nI stand corrected.", "she was summarily executed by a firing\n squad.", "GABRIELLE\nYou're all wrong about me. My name isn't\nHoffmanstal.\n\n HOLMES\nIt isn't?", "hansom parked across the street, and von Tirpitz\nwatching. He signals to the cabbie, who is back on his\nperch. The cabbie flicks his whip, and the hansom takes", "shot up, of course, were substitutes from the chemistry\nset. He places the violin carefully among the bottles,\ncloses the case, snaps the locks. As he moves off, we", "apparently suffering from amnesia -- is,\n in fact, Ilse von Hoffmanstal, one of\n their most skillful agents. Am I going", "fifty, and his name is VON TIRPITZ. He looks up toward\nthe Holmes flat. As the hansom makes a U-turn and comes", "MYCROFT\n I'm rather counting on you to do it.\n Since you are on such intimate terms with\n Fraulein von Hoffmanstal.\n\nO.s., the bagpiper resumes playing.", "Holmes lowers the glasses, returns them to Watson.\n\n HOLMES\n Very strong arches, I must admit.\n\n WATSON\n They say twelve men have died for her.", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon.", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "cabbie who fished Gabrielle out of the river, and in the\npassenger seat is Von Tirpitz, the craggy-faced Prussian\nwe saw before. He stares fixedly after Holmes and", "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "Ibbetson, actually saw the dirigible, and\n made a drawing of it. Unfortunately, he\n was apprehended before he could cross the\n border.", "HOLMES\n (nodding)\n By now they have been smuggled to Vienna,\n dressed as little girls in burgundy", "HOLMES\n Monsieur Valladon may have been found in\n the lake -- but he did not drown. He\n died of asphyxiation.", "MYCROFT\n We have conclusive proof, Ma'am. Our\n agent in Friedrichshafen, a man named", "Holmes pries the lid open, disclosing the corpse of a\nmiddle-aged man. His arms are folded across his chest,\nand on the third finger of his left hand is a wedding", "He picks some up from the ground, hands them to Holmes,\nwho tosses them in the direction of the graves. The\npebbles strike a granite cross. At the sound, the four" ], [ "Half a dozen ballerinas descend on on Dr. Watson. They\nare giggling and chattering in Russian. Rogozhin leads\nHolmes off, while Watson takes in the bevy of beauties\naround him.", "She extends her hand, and Holmes takes it.\n\n HOLMES\n Madame.\n\nHe kisses her hand. Petrova appraises him from head to\ntoe, and back again.", "Rogozhin rises, turns to Holmes.\n\n ROGOZHIN\n After performance, there will be little\n celebration backstage -- and Madame\n requests your presence.", "WATSON\n Kill you?\n\n HOLMES\n That's right. It's a plot to bore me to\n death. I detest ballet.", "As she extends her right hand to him, in a beckoning\ngesture, Holmes notices something on the palm. He takes\nher hand in his. There, in the same green ink as the", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "HOLMES\n At the ballet.\n\n WATSON\n Ballet?\n\n 110.", "He hands the glasses to Holmes, who focuses them\nindifferently on the stage.\n\n\nSTAGE\n\nPetrova is making an exit, backwards, on points.\n\n\nBOX", "She exits, shutting the door. For a while, the two go on\nworking. Then Holmes rises abruptly from the chemistry\ntable.\n\n HOLMES\n She's right. I am suffocating.", "Gabrielle appears from Holmes' bedroom wearing Holmes'\ndressing gown. She is unsteady on her feet and somewhat\ndazed. Holmes looks up.", "Watson strides towards Holmes' bedroom.\n\n WATSON\n Holmes! Holmes! She's gone!", "HOLMES\nWhat a shame.\n\n ROGOZHIN\nShe has been dancing since she was three\nyears old. And after all, she is now\nthirty-eight.", "He takes her limp hand, kisses it. Then he crosses to\nthe door.\n\n HOLMES\n (imitating Rogozhin's accent)\n It would have been catastrophe.", "whispers something to them. Their eyes widen, and they\nstare at Watson with disbelief. Watson again switches\npartners, and the first girls now whisper intensely to", "her to the floor. For a brief moment he keeps his arms\naround her. Watson has now squeezed through the\nskylight.", "Holmes reaches behind her, turns back the collar of her\ndress. Sewn inside is a label reading: BAZAAR MODERN,\nBruxelles.", "By now some of the girls who are in on the secret are\nwhispering to the male dancers in tights. Their reaction\nis slightly different. They are seeing Watson in a new", "Gabrielle tearfully removes her ring, hands it to Holmes.\nFrom his vest pocket he now produces Valladon's ring --", "GABRIELLE\n Thank you.\n\nShe manages a tentative smile. Holmes looks at her for a\nlong moment, then --", "HOLMES\n Would you mind telling me what this is\n all about?\n\n ROGOZHIN\n Certainly. Madame Petrova, she has\n problem." ], [ "Watson has lowered his clasped hands, and Holmes uses\nthem as a foothold to go scrambling up the scaffolding of\nthe nearby wall. Reaching the top, he looks off in the\ndirection of the tower.", "HOLMES\n Thank you.\n\nThe manager starts toward the door, nodding to Watson.", "Watson hands him the indicated tools. Holmes chips away\nthe cement from the top and bottom of the last bar, then\nusing it as a hinge, swings the grill open. He lets", "No answer from Holmes. We now see -- but Watson does not\n-- that the chair is occupied by a section of Holmes'\nsmoking machine, with the pipe attached.", "Watson resumes working on his manuscript. Suddenly the\nmusic stops. Watson looks up apprehensively. Holmes has\nput down the violin, and is crossing to the sideboard.", "The guide nods to Holmes, who dismounts, starts up the\nsteps, examining the red carpet. As he reaches the top,\nhe looks off.", "As they burst into the room, they see Holmes sitting on\nthe stool beside the chemistry table, a revolver in his\nhand. He has shattered one of the narcotics bottles on\nthe mantelpiece, and is aiming at a second one.", "Holmes turns to the bookshelves above the desk. From a\nrow of similar volumes, he slides out the three files", "HOLMES\n The answer is yes.\n (a relieved sigh from Watson)\n You're being presumptuous.\n (Watson's face falls)\n Good night.", "Then glancing over his shoulder to make sure Holmes isn't\nwatching, he swivels the letter around with the tongs.\nIt is written on Diogenes Club stationery, and reads:", "Holmes moves around the tent, taking all this in.\n\n HOLMES\n Interesting -- and educational.\n\n 115.", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "She exits, shutting the door. For a while, the two go on\nworking. Then Holmes rises abruptly from the chemistry\ntable.\n\n HOLMES\n She's right. I am suffocating.", "her to the floor. For a brief moment he keeps his arms\naround her. Watson has now squeezed through the\nskylight.", "MANAGER\n (flatly)\n Quite sure, Mr. Holmes.\n\nHe turns and exits. Holmes taps the bottle of champagne\nthoughtfully.", "He looks at Holmes almost triumphantly.\n\n CUT TO:\n\n\nSERIES OF SHOTS - DAY", "Holmes rises casually, twists the wing chair so that its\nback is to the door, crosses to the lamp on the desk,", "He has slit open the envelope. Watson watches him\ncuriously as he reads the letter, but Holmes' face\nremains expressionless. Slowly he puts down the letter,", "HOLMES\n It's nothing new, actually. We've come\n across this situation before.\n\n WATSON\n We have? Where?", "He and Watson retrieve their hats, move toward the door.\n\n MYCROFT\n (to Holmes)\n Just a minute.\n (picks up Holmes' cane)\n You forgot your tool-kit." ], [ "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "GABRIELLE\nIt's von Hoffmanstal.\n\n HOLMES\nI stand corrected.", "GABRIELLE\nYou're all wrong about me. My name isn't\nHoffmanstal.\n\n HOLMES\nIt isn't?", "apparently suffering from amnesia -- is,\n in fact, Ilse von Hoffmanstal, one of\n their most skillful agents. Am I going", "MYCROFT\n I'm rather counting on you to do it.\n Since you are on such intimate terms with\n Fraulein von Hoffmanstal.\n\nO.s., the bagpiper resumes playing.", "write a very sharp note to the Kaiser.\n (to equerry)\n Now we wish to return to Balmoral.", "Watson sets down his coffee cup, picks up the letter and\nthe tickets, rises from his chair. He starts to pace --\naddressing Holmes, who is off-scene.", "morning -- we don't want to keep them\n standing around too long, do we, Fraulein\n Hoffmanstal?\n (Gabrielle looks at him", "MYCROFT\n We have conclusive proof, Ma'am. Our\n agent in Friedrichshafen, a man named", "shot up, of course, were substitutes from the chemistry\nset. He places the violin carefully among the bottles,\ncloses the case, snaps the locks. As he moves off, we", "rather, his invention. They knew he was\nemployed by us, but they couldn't find\nout where -- so they enlisted the best\nbrain in England to help them. You, my", "Then I went to the Belgian embassy and\n explained the situation to them -- and\n they suggested that I consult you...", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon.", "to their objective, the air pump. Very\n much like using a hog to find truffles.\n And now perhaps you'd care to join me. I", "MANAGER\n No, indeed. You are to deliver it.\n These are my instructions.\n\nHe hands the magnum to Holmes.", "hansom parked across the street, and von Tirpitz\nwatching. He signals to the cabbie, who is back on his\nperch. The cabbie flicks his whip, and the hansom takes", "HOLMES\n (nodding)\n By now they have been smuggled to Vienna,\n dressed as little girls in burgundy", "Present are half a dozen naval personnel, commanded by an\nofficer. As the royal party comes down the spiral\nstaircase, the officer snaps to attention. Mycroft is in", "She starts toward the spiral staircase. The equerry\nprecedes her up the stairs, the lady-in-waiting follows,\nthe scientists trail after them. Mycroft and Holmes\nlinger behind.", "He waves goodbye, and goes on swirling dizzily with the\ngirls. Holmes puts on his silk hat and leaves." ], [ "GABRIELLE\n (anxious)\n Yes?\n\n HOLMES\n I want you to pack your things.", "GABRIELLE\n Thank you.\n\nShe manages a tentative smile. Holmes looks at her for a\nlong moment, then --", "Gabrielle appears from Holmes' bedroom wearing Holmes'\ndressing gown. She is unsteady on her feet and somewhat\ndazed. Holmes looks up.", "GABRIELLE\n Emile?\n\nHolmes looks up as Gabrielle appears in the open doorway.", "Gabrielle tearfully removes her ring, hands it to Holmes.\nFrom his vest pocket he now produces Valladon's ring --", "GABRIELLE\n Emile?\n\nShe starts to get out of bed.\n\n\nINT. HOLMES' BEDROOM - DAWN", "HOLMES\n (taking Gabrielle's hand)\n If you don't mind.", "HOLMES\n All right. You can look now.\n\nGabrielle's head appears from under the covers of the\nlower berth.", "GABRIELLE\n Emile? Is that you, Emile?\n\n HOLMES\n (stepping into shadow)\n Yes, Gabrielle.", "GABRIELLE\n Mr. Holmes! This letter --\n (she picks it up)\n\n HOLMES\n What about it?", "GABRIELLE\n I don't understand any of it.\n (rises, goes to Holmes)\n What does it all mean, Mr. Holmes? Where\n is my husband? You must help me find\n him.", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "Gabrielle looks at Holmes, but he avoids her eyes.", "HOLMES\n Come in, Madame Valladon.\n (Gabrielle stops)\n You are Gabrielle Valladon.\n\n GABRIELLE\n Yes.", "GABRIELLE\n I don't know.\n\n HOLMES\n What happened at the river? Think!\n Pensez! Concentrez vous!", "HOLMES\n (to Gabrielle)\n Young lady -- what did you want at this\n address?", "Holmes is back in his room, once more examining the\ncardboard by the light of the window. The door of\nWatson's bedroom opens, and Gabrielle comes out.\n\n 52.", "Gabrielle is asleep in Watson's bed. The door opens\nslowly, and Holmes looks in. He studies the sleeping", "INT. HOLMES' BEDROOM - DAY\n\nGabrielle is asleep in Holmes' bed, covered by just a\nsheet, and obviously naked underneath. Holmes is not in\nthe room.", "Gabrielle looks at Holmes. CAMERA PANS UP TOWARD an iron\nfootbridge, spanning the railway tracks. Moving across" ], [ "In the half-light, Gabrielle can be seen asleep in her\nbed. She is wearing the pink negligee with the maribou\nfeathers, which has slipped halfway off her shoulders.\nThe other bed has not been slept in.", "Gabrielle glances casually at the letter the old woman\nleft lying on top of the cage, and her expression\nchanges.", "Gabrielle bursts into sobs.", "He crosses to the desk, picks up a sheet of paper and an\nenvelope, then leads Gabrielle over to the chair with the\nwriting arm, seats her in it.", "Bright sunlight now floods the room. Gabrielle, fully\ndressed, is standing in front of the mirror, putting on", "(a sob from Gabrielle)\n Which leads me to believe that the cause\n of death was not drowning...\n (Gabrielle is now crying)", "Gabrielle appears from Holmes' bedroom wearing Holmes'\ndressing gown. She is unsteady on her feet and somewhat\ndazed. Holmes looks up.", "Gabrielle are in the passenger seat, their luggage is\nstrapped to the back. Through the trees which line the\nroad we glimpse Loch Ness, which is partly obscured by a", "He crosses to Gabrielle's bed, looks down at her for a\nlong moment, adjusts the negligee with the tip of the\nparasol. The he moves to the French window, opens it,\nglances out.", "GABRIELLE\n Emile?\n\nShe starts to get out of bed.\n\n\nINT. HOLMES' BEDROOM - DAWN", "Holmes is back in his room, once more examining the\ncardboard by the light of the window. The door of\nWatson's bedroom opens, and Gabrielle comes out.\n\n 52.", "Gabrielle for a moment, then quietly pulls the door shut.\nAs the latch clicks into place, Gabrielle awakes and sits\nup in bed, her back to CAMERA. She is nude.", "GABRIELLE\n A bee.\n\nShe continues to work the parasol, alternately opening it\nand partially closing it.", "Gabrielle is sitting in the stern of a rowboat, her\nparasol in her lap. She is wearing Holmes' Norfolk\njacket over her dress to ward off the chill.", "He opens her suitcase, which is on the baggage rack at\nthe foot of the bed. Gabrielle watches him for a beat,\nthen crosses to the wardrobe, starts taking her clothes\nout.", "By this time Gabrielle has picked up her parasol from the\ncouch, and is obviously searching about.\n\n WATSON\n Looking for something?", "Gabrielle is asleep in Watson's bed. The door opens\nslowly, and Holmes looks in. He studies the sleeping", "Holmes is stretched out in the upper berth, which is in\ndarkness. In the lower, Gabrielle is propped up against\na pillow, reading a magazine by the light of a gas lamp.\nOther magazines are scattered across her blanket.", "CABBIE\n Thank you, guv'nor.\n\nHe snatches the blanket off Gabrielle, revealing that her\ndress is clinging to her damply.", "GABRIELLE\n Emile?\n\nHolmes looks up as Gabrielle appears in the open doorway." ], [ "On the road above, approaching a bridge which spans the\nlake where it narrows into a stream, are the seven\nTrappist monks, walking slowly in single file.", "There is the normal complement of passengers, men, women\nand children, of the middle and lower classes. The only\nunusual occupants are a group of seven MONKS, in brown\nhabits and cowls.", "bowler. The resf of the bench is occupied by monks, as\nis the facing bench. As Watson tries to squeeze between\nthem, he steps on the foot of one of the monks.", "The monk doesn't answer. Watson turns away, looks out\nthe window -- but there's nothing to be seen. Then he\nfolds, bored. He glances casually at the Bible in the\nmonk's hands.", "There is no answer from the monk. Watson picks up his\nbowler, settles himself in his seat, starts to fan\nhimself with his hat. He turns sociably to the monk\nbeside him, who is absorbed in his Bible.", "HOLMES\nWell, it's up to the good monks now. You\ncan consider your part of the mission\naccomplished, Fraulein Hoffmanstal.", "Most of the passengers in the car have fallen asleep, in\nvarious uncomfortable positions, including Watson. The\nmonk beside Watson looks at him, to make sure he's out,\nthen rises and moves toward a monk seated apart from the\nothers.", "Watson waves to them, but the monks pay no attention to\nhim.", "von Tirpitz and the other monks strain their eyes in the\ndirection of the hotel.\n\n\nHOTEL - FROM MONKS' ANGLE - DAWN", "LAKEFRONT - FROM HOLMES' ANGLE - DAWN\n\nThe monks turn away from the hotel, and with von Tirpitz\nin the lead, move off along the shore.", "On the bridge von Tirpitz, who is at the rear of the file\nof monks, glances back toward the lakeshore.\n\n DISSOLVE TO:", "long conversation -- because they're not\n allowed to talk -- Trappists, you know.\n Just study their Bibles. You'll never\n guess what the one next to me was reading", "HOLMES\n (looking after the monks)\n Quite.\n\nAs he turns back, he notices that Gabrielle is\nmanipulating her parasol in the air.", "The monk looks up from his Bible, points to his lips,\nshakes his head.", "LAKEFRONT - FROM HOLMES' ANGLE - DAWN\n\nThe seven Trappist monks are standing on the shore,\nsilhouetted against the water, watching the hotel.", "HOLMES\n (indicating)\n Your Trappist friends are out there\n waiting to hear from you -- it's a chilly", "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "WATSON\n Oh, forgive me. You must be one of those\n orders that's taken the vow of silence.\n Trappists, I believe you're called.", "HOLMES\n Not really. My guess is that the\n monster, after a hard day's work, has\n returned home for his supper.\n\n 109." ], [ "MYCROFT\n The Admiralty regards this craft as the\n ultimate weapon in naval warfare. It can\n seek out enemy ships and destroy them --\n with these torpedoes -- while remaining\n completely invisible.", "He exits. Holmes glances toward the telegram as Mycroft\nputs it down on his desk. Catching his look, Mycroft\nturns his telegram face-down, lets the monocle drop from\nhis eye.", "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "He and Watson retrieve their hats, move toward the door.\n\n MYCROFT\n (to Holmes)\n Just a minute.\n (picks up Holmes' cane)\n You forgot your tool-kit.", "MYCROFT\n Not necessarily. If the Germans want\n that submersible so badly, why don't we\n give it to them?\n\n HOLMES\n Give it to them?", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon.", "MYCROFT\nMy suggestion is that you pursue it no\nfurther.\n\n HOLMES\nAny particular reason?", "MYCROFT\n A rigid balloon, which could fly over\n London and drop a bomb on Buckingham\n Palace. It is being developed at the\n express orders of Kaiser Wilhelm the\n Second.", "MYCROFT\n In here.\n\nHolmes passes inside, Mycroft following.\n\n\nINT. TENT - NIGHT", "MYCROFT\n Shall we say goodbye to Her Majesty?\n\nHe starts up the spiral staircase. Holmes follows slowly\nand thoughtfully.", "Mycroft comes down the carpeted steps to meet her.\n\n MYCROFT\n Your Majesty.\n\nHe bows. The Queen extends her hand to him, and he\ntouches it.", "MYCROFT\n We have conclusive proof, Ma'am. Our\n agent in Friedrichshafen, a man named", "MYCROFT\n Now if you'll excuse me, gentlemen --\n\n WATSON\n Goodbye, sir.\n\n HOLMES\n A pleasure, as always.", "75.\n\n\n\n MYCROFT\n By the authority of Her Majesty's\n government. I hope I've made myself\n clear.", "QUEEN VICTORIA\n Without any warning?\n\n MYCROFT\n That is correct, Ma'am.", "MYCROFT\n Sherlock, when I said drop this case, it\n was not merely a suggestion -- it was an\n order!\n\n HOLMES\n By whose authority?", "Then glancing over his shoulder to make sure Holmes isn't\nwatching, he swivels the letter around with the tongs.\nIt is written on Diogenes Club stationery, and reads:", "MYCROFT\n The last doctor who warned me about that\n was crossing Piccadilly, slipped on an\n orange peel, and was run over by a\n delivery van from the Fortnum and Mason.\n Your very good health.", "GABRIELLE\n Thank you.\n\n MYCROFT\n Don't thank me. Thank my brother. It\n was his idea.", "HOLMES\nSo you had them buried in unmarked\ngraves, to preserve your secret.\n\n MYCROFT\nIt was essential to keep the information\nfrom your client." ], [ "QUEEN VICTORIA\n (indicating sub)\n Nevertheless, we don't want any part of\n this beastly invention. Get rid of it!\n Scuttle it! The sooner the better.", "Out of the coach steps a familiar figure -- Her Majesty,\nQUEEN VICTORIA, Defender of the Faith, Empress of India.\nShe is 69 years old, and dressed entirely in black.", "QUEEN VICTORIA\n You mean in can fire at other vessels\n while under water?\n\n MYCROFT\n Yes, Ma'am.", "QUEEN VICTORIA\n And don't concern yourself about that\n dirigible dropping bombs on us. We shall", "QUEEN VICTORIA\n It was long and it was tedious. And it\n had better be worth our while, Mr.\n Holmes.", "QUEEN VICTORIA\n Without any warning?\n\n MYCROFT\n That is correct, Ma'am.", "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "QUEEN VICTORIA\n Sometimes we despair of the state of the\n world. What will scientists think of\n next?", "QUEEN VICTORIA\n Ah, yes. Sherlock Holmes. We have been\n following your exploits with great\n interest.\n\nHolmes bows, touches the Queen's extended hand.", "QUEEN VICTORIA\n And without showing her colors?\n\n MYCROFT\n Indeed, Ma'am.", "125.\n\n\n\n QUEEN VICTORIA\n A dirigible? And what, pray, is that?", "QUEEN VICTORIA\n The dungeon? What a peculiar place to\n keep it.\n (turning to the others)\n Well, let us get on with it, gentlemen.", "QUEEN VICTORIA\n The glass bottom.\n\n HOLMES\n You know -- to see the fist --", "122.\n\n\n\n QUEEN VICTORIA\n Oh. To frighten away the sharks, we\n imagine.", "QUEEN VICTORIA\n (pointing)\n The canaries. Must make the crew feel at\n home.", "123.\n\n\n\n QUEEN VICTORIA\n How charming.\n\n MYCROFT\n The air pump, Ma'am?", "hand. And since she must have arrived\n from Brussels by the boat train, I\n concluded that she had checked her\n belongings at Victoria Station.", "QUEEN VICTORIA\n But where is the glass bottom?\n\n MYCROFT\n The what, Ma'am?", "MYCROFT\n We call it a submersible, Ma'am. It\n travels under water.\n\n QUEEN VICTORIA\n Under water? What a fantastic idea.", "QUEEN VICTORIA\n Mr. Holmes, we are not amused.\n (Mycroft stares at her)" ], [ "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "GABRIELLE\nIt's von Hoffmanstal.\n\n HOLMES\nI stand corrected.", "GABRIELLE\nYou're all wrong about me. My name isn't\nHoffmanstal.\n\n HOLMES\nIt isn't?", "apparently suffering from amnesia -- is,\n in fact, Ilse von Hoffmanstal, one of\n their most skillful agents. Am I going", "Holmes pries the lid open, disclosing the corpse of a\nmiddle-aged man. His arms are folded across his chest,\nand on the third finger of his left hand is a wedding", "shot up, of course, were substitutes from the chemistry\nset. He places the violin carefully among the bottles,\ncloses the case, snaps the locks. As he moves off, we", "MYCROFT\n I'm rather counting on you to do it.\n Since you are on such intimate terms with\n Fraulein von Hoffmanstal.\n\nO.s., the bagpiper resumes playing.", "He waves goodbye, and goes on swirling dizzily with the\ngirls. Holmes puts on his silk hat and leaves.", "morning -- we don't want to keep them\n standing around too long, do we, Fraulein\n Hoffmanstal?\n (Gabrielle looks at him", "Holmes lowers the glasses, returns them to Watson.\n\n HOLMES\n Very strong arches, I must admit.\n\n WATSON\n They say twelve men have died for her.", "HOLMES\n (preoccupied)\n Hand me that lantern.\n\nWatson passes down the lantern, and Holmes slowly shines\nthe beam along the length of the coffin.", "HOLMES\n Monsieur Valladon may have been found in\n the lake -- but he did not drown. He\n died of asphyxiation.", "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "(a sob from Gabrielle)\n Which leads me to believe that the cause\n of death was not drowning...\n (Gabrielle is now crying)", "The violin music continues OVER SCENE, infinitely\nromantic, infinitely sad.\n\n FADE OUT.\n\n\n THE END", "A shaken Rogozhin comes up to the buffet, pours himself a\nstiff drink of vodka. As he drinks his eyes follow the\ndancing Watson balefully.", "Watson resumes working on his manuscript. Suddenly the\nmusic stops. Watson looks up apprehensively. Holmes has\nput down the violin, and is crossing to the sideboard.", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon.", "for a tail-coat -- and twenty-four hours\n before the wedding, she died of\n influenza.", "HOLMES\nAnd Madame Valladon -- what part did she\nplay in all this?\n\n MYCROFT\nMadame Valladon is dead.\n\n HOLMES\nDead?" ], [ "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "GABRIELLE\nIt's von Hoffmanstal.\n\n HOLMES\nI stand corrected.", "Then glancing over his shoulder to make sure Holmes isn't\nwatching, he swivels the letter around with the tongs.\nIt is written on Diogenes Club stationery, and reads:", "He has slit open the envelope. Watson watches him\ncuriously as he reads the letter, but Holmes' face\nremains expressionless. Slowly he puts down the letter,", "Watson resumes working on his manuscript. Suddenly the\nmusic stops. Watson looks up apprehensively. Holmes has\nput down the violin, and is crossing to the sideboard.", "Watson sets down his coffee cup, picks up the letter and\nthe tickets, rises from his chair. He starts to pace --\naddressing Holmes, who is off-scene.", "upon reciept of this note. According to\n my calculations, that should be at 11:40\n a.m. Your brother, Mycroft.", "A YOUNG MAN in morning coat and striped trousers comes\nin, holding a telegram. Mycroft crosses to him.", "Footsteps are heard hurrying up the stairs, and after a\nmoment there is a knock on the door. Watson approaches\nthe door, opens it to reveal INSPECTOR LESTRADE -- a", "Watson has lowered his clasped hands, and Holmes uses\nthem as a foothold to go scrambling up the scaffolding of\nthe nearby wall. Reaching the top, he looks off in the\ndirection of the tower.", "As she extends her right hand to him, in a beckoning\ngesture, Holmes notices something on the palm. He takes\nher hand in his. There, in the same green ink as the", "It might interest you to know that\n\nThe page ends at this point. Watson turns the sheet of\npaper over with the tongs. The letter continues on the\nother side.", "WATSON\n Yes, I think I have.\n\n LESTRADE\n Some of us at Scotland Yard were\n wondering if perhaps Mr. Holmes would be\n willing to --", "Watson hands him the indicated tools. Holmes chips away\nthe cement from the top and bottom of the last bar, then\nusing it as a hinge, swings the grill open. He lets", "He races up the stairs and across the landing, flings\nopen the door of the flat.\n\n WATSON\n Holmes!\n\n\nINT. LIVING ROOM - NIGHT", "No reaction from Holmes. As they reach the landing,\nGabrielle is waiting for them in the open doorway of\ntheir flat.\n\n GABRIELLE\n Any news? Did you find out anything?", "WATSON\n As good an explanation as any.\n\nMycroft has taken the telegram, and is coming forward\nwith it. The young man clears his throat.", "MYCROFT\n We have conclusive proof, Ma'am. Our\n agent in Friedrichshafen, a man named", "The guide nods to Holmes, who dismounts, starts up the\nsteps, examining the red carpet. As he reaches the top,\nhe looks off.", "Watson comes dashing down the narrow stairs from the\nattic, races toward teh door of Holmes' room.\n\n WATSON\n Mr. Ashdown!\n\nHe flings the door open." ], [ "She extends her hand, and Holmes takes it.\n\n HOLMES\n Madame.\n\nHe kisses her hand. Petrova appraises him from head to\ntoe, and back again.", "HOLMES\n Would you mind telling me what this is\n all about?\n\n ROGOZHIN\n Certainly. Madame Petrova, she has\n problem.", "PETROVA\n (to Holmes)\n Vi menshe rostom chem ja ozhidala.\n\n HOLMES\n Madame says you are shorter than she\n thought.", "Holmes' eyes wander slowly toward Petrova. She raises\nher glass.\n\n PETROVA\n Za zdorovie.", "ROGOZHIN\n There you are, Mr. Holmes. Madame is\n expecting you in her dressing room. Dr.\n Watson, you will amuse yourself meanwhile\n -- we have vodka, caviar, girls.", "ROGOZHIN\n I am not. But Madame is.\n\nPetrova emerges from behind the paravent, in a brocade\ndressing gown.", "Petrova and Rogozhin down their vodka bottoms up. Holmes\ntakes one swallow, then stops.\n\n HOLMES\n What's in it?", "ROGOZHIN\n Madame says not to worry. She will not\n scratch you.\n\n HOLMES\n That's reassuring to know. But --", "HOLMES\n I'm afraid it loses something in\n translation.\n\nPetrova is now behind the paravent, undressing, only her\nhead visible.", "They have now reached the door of Madame's dressing room.\nRogozhin knocks. The door is opened by an elderly\nRussian maid.\n\n ROGOZHIN\n Madame Petrova prinimaet?", "Rogozhin rises, turns to Holmes.\n\n ROGOZHIN\n After performance, there will be little\n celebration backstage -- and Madame\n requests your presence.", "While Rogozhin refills Petrova's glass and his own,\nHolmes takes another tentative sip.", "ROGOZHIN\n (to Holmes)\n I repeat question. You find Madame\n attractive or no?\n\nHolmes is still looking at the door where Watson exited,\nan idea forming in his mind.", "HOLMES\nAnd Madame Valladon -- what part did she\nplay in all this?\n\n MYCROFT\nMadame Valladon is dead.\n\n HOLMES\nDead?", "ROGOZHIN\nMadame is very happy with final choice.\n\n HOLMES\nMadame mustn't be too hasty. She must\nremember I'm an Englishman.", "He hands the glasses to Holmes, who focuses them\nindifferently on the stage.\n\n\nSTAGE\n\nPetrova is making an exit, backwards, on points.\n\n\nBOX", "WATSON\n I don't mean Mycroft, I mean Madame\n Valladon.\n\n HOLMES\n Don't worry. She's perfectly safe with\n Mrs. Hudson.", "As Watson glares at him, the door opens and Mrs. Hudson\ncomes bustling in. Holmes hides the hypodermic behind\nhis back.", "ROGOZHIN\n Ja priviol vam Mistera Sherlock Holmesa,\n doragaia.\n\n PETROVA\n (to Holmes)\n Otchen rada.", "HOLMES\n Come in, Madame Valladon.\n (Gabrielle stops)\n You are Gabrielle Valladon.\n\n GABRIELLE\n Yes." ], [ "She extends her hand, and Holmes takes it.\n\n HOLMES\n Madame.\n\nHe kisses her hand. Petrova appraises him from head to\ntoe, and back again.", "HOLMES\n Would you mind telling me what this is\n all about?\n\n ROGOZHIN\n Certainly. Madame Petrova, she has\n problem.", "Holmes' eyes wander slowly toward Petrova. She raises\nher glass.\n\n PETROVA\n Za zdorovie.", "PETROVA\n (to Holmes)\n Vi menshe rostom chem ja ozhidala.\n\n HOLMES\n Madame says you are shorter than she\n thought.", "Petrova and Rogozhin down their vodka bottoms up. Holmes\ntakes one swallow, then stops.\n\n HOLMES\n What's in it?", "HOLMES\n I'm afraid it loses something in\n translation.\n\nPetrova is now behind the paravent, undressing, only her\nhead visible.", "ROGOZHIN\n I am not. But Madame is.\n\nPetrova emerges from behind the paravent, in a brocade\ndressing gown.", "ROGOZHIN\n Madame says not to worry. She will not\n scratch you.\n\n HOLMES\n That's reassuring to know. But --", "ROGOZHIN\n There you are, Mr. Holmes. Madame is\n expecting you in her dressing room. Dr.\n Watson, you will amuse yourself meanwhile\n -- we have vodka, caviar, girls.", "HOLMES\n (turning to Rogozhin)\n Oh, I find her most attractive -- for a\n woman, that is.\n\n ROGOZHIN\n Then no problem.", "ROGOZHIN\n (to Holmes)\n I repeat question. You find Madame\n attractive or no?\n\nHolmes is still looking at the door where Watson exited,\nan idea forming in his mind.", "He hands the glasses to Holmes, who focuses them\nindifferently on the stage.\n\n\nSTAGE\n\nPetrova is making an exit, backwards, on points.\n\n\nBOX", "HOLMES\nAnd Madame Valladon -- what part did she\nplay in all this?\n\n MYCROFT\nMadame Valladon is dead.\n\n HOLMES\nDead?", "ROGOZHIN\nMadame is very happy with final choice.\n\n HOLMES\nMadame mustn't be too hasty. She must\nremember I'm an Englishman.", "While Rogozhin refills Petrova's glass and his own,\nHolmes takes another tentative sip.", "Rogozhin rises, turns to Holmes.\n\n ROGOZHIN\n After performance, there will be little\n celebration backstage -- and Madame\n requests your presence.", "As Watson glares at him, the door opens and Mrs. Hudson\ncomes bustling in. Holmes hides the hypodermic behind\nhis back.", "WATSON\n I don't mean Mycroft, I mean Madame\n Valladon.\n\n HOLMES\n Don't worry. She's perfectly safe with\n Mrs. Hudson.", "Half a dozen ballerinas descend on on Dr. Watson. They\nare giggling and chattering in Russian. Rogozhin leads\nHolmes off, while Watson takes in the bevy of beauties\naround him.", "HOLMES\n Come in, Madame Valladon.\n (Gabrielle stops)\n You are Gabrielle Valladon.\n\n GABRIELLE\n Yes." ], [ "cabbie who fished Gabrielle out of the river, and in the\npassenger seat is Von Tirpitz, the craggy-faced Prussian\nwe saw before. He stares fixedly after Holmes and", "As Gabrielle hoists herself into the boat, Watson\nclambers over the other side. After a moment Holmes\njoins them, and they sit there, sopping wet and breathing\nheavily.", "Come along. Let me get you out of those\n wet clothes.\n\nHe starts to lead her up the stairs.\n\n\nEXT. BAKER STREET - NIGHT", "MYCROFT\n The woman who was brought to your house\n in the middle of the night -- apparently\n fished out of the Thames -- and", "He glances around, sees Watson's bowler floating nearby,\nswims over to it.\n\n HOLMES\n Watson?\n\nHe lifts the hat -- but Watson isn't under it.", "He grabs his oar, and Watson belatedly joins in. They\nstrain at the oars, setting a course which will intercept", "On the rowing seat, facing her, are Watson and Holmes,\nthe latter in his waistcoat. Their oars are pulled in,\nand they are watching Urquhart Castle, on the opposite\nside of the lake.", "Watson resumes pulling on his oar. As they row, Holmes\nlooks over his shoulder.", "hits the boat broadside, rocking it, and Holmes, Watson\nand Gabrielle are spilled into the lake.", "Holmes is the first to come up, looks around, sees\nGabrielle surfacing a few yards away, swims to her.\n\n HOLMES\n Are you all right?", "He tosses the cane to Holmes, who catches it.\n\n DISSOLVE TO:\n\n\nEXT. BAKER STREET - DAY", "her to the floor. For a brief moment he keeps his arms\naround her. Watson has now squeezed through the\nskylight.", "Watson has lowered his clasped hands, and Holmes uses\nthem as a foothold to go scrambling up the scaffolding of\nthe nearby wall. Reaching the top, he looks off in the\ndirection of the tower.", "Holmes appears on the landing above, violin and bow in\nhis hand.\n\n CABBIE\n It wasn't easy, guv'nor -- what with the\n cold water -- and her fighting me --", "The monster has started to submerge. Its head disappears\nbeneath the surface of the water, and the wake it leaves\nbehind soon trails off into the mist.\n\nHolmes ships his oar.", "About half a mile away, moving in and out of patches of\ndrifting mist, is Watson's monster, its long reptillian\nneck cutting through the water.\n\nWatson leaps to his feet.", "WATSON\n Holmes! I saw it! I saw it from the\n attic! It's out there in the lake!\n\n HOLMES\n You saw what?", "Out of the mist comes a hansom cab, with the dim figure\nof a woman visible in the passenger seat. The cab stops\nin front of 221B, and the driver starts to get down.\nFrom upstairs comes the faint sound of violin music.", "HOLMES\n So all we know is that she was coshed on\n the head, dumped into the Thames, and\n subsequently dumped into our laps.\n\n 47.", "Suddenly the surface of the water breaks, about twenty\nyards away from them, and the head and neck of the\nmonster rear up from the depths. Watson is first to" ], [ "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "HOLMES\nOh? Is he missing?\n\n ROGOZHIN\nCorrect.\n\n HOLMES\nAnd that's why you called me in?", "He picks up a white-washed wooden cross, plants it at the\nhead of the grave. The other grave-digger has inserted\nsmaller crosses into the other two mounds of earth.", "He holds out the pen to them, but they are gone. He\nlooks around in consternation, sees them hurrying up the\nmajestic staircase, steps out from behind his desk.", "Holmes pries the lid open, disclosing the corpse of a\nmiddle-aged man. His arms are folded across his chest,\nand on the third finger of his left hand is a wedding", "The workman carrying the canary cage, and the two\ncarrying the crate of sulphuric acid are approaching the\ntower. A draw-bridge comes down, and the three men cross\nthe moat and enter the tower.", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "8.\n\n\n So obviously he is a stingy blighter, and\n the little chaps simply ran off to join\n another circus.", "shot up, of course, were substitutes from the chemistry\nset. He places the violin carefully among the bottles,\ncloses the case, snaps the locks. As he moves off, we", "He picks some up from the ground, hands them to Holmes,\nwho tosses them in the direction of the graves. The\npebbles strike a granite cross. At the sound, the four", "He closes the doors of the cages, picks up the small\ncage. His companion indicates the letter in the woman's\nlap.", "He comes up from under the couch with the missing glove.\n\n GABRIELLE\n Thank you.\n\nShe slowly starts to shut the parasol.", "Watson sets down his coffee cup, picks up the letter and\nthe tickets, rises from his chair. He starts to pace --\naddressing Holmes, who is off-scene.", "From their position behind the headstone, Holmes, Watson\nand Gabrielle are watching the four boys, who have their\nbacks to them.", "It is dusty, cobwebby, quite forbidding. In the rear\nwall is a closed sliding door, indented about a foot into\nthe shop. Nearby stands a large, square object, covered\nwith a tarpaulin.", "short, nervous man whose features are sharper than his\nmind. He is wearing an overcoat, his bowler is in his\nhands, and his fingers are drumming on the crown.", "light. And before Watson knows what's happening, he has\nbeen abandoned by all the girls, and is joined first by\none pair then another pair of male dancers, till he is", "At the grave-site, the workmen are removing the coffins\nfrom the cart. There is one large grave, two smaller\nones. A couple of grave-diggers stand by respectfully,\ncaps in hands.", "Holmes lowers the glasses, returns them to Watson.\n\n HOLMES\n Very strong arches, I must admit.\n\n WATSON\n They say twelve men have died for her.", "Street. They hand it to a workman, who starts up the\nsteps with it. To another couple of workmen they pass\ndown an open-sided crate in which rest two heavy glass" ], [ "MONK\n (in a whisper)\n Die Spur fuehrt nach Inverness. Die\n steigen dort aus. Dort muessen wir ihn\n finded -- den Valladon!", "HOLMES\n My guess would be Scotland. Inverness,\n to be more precise.\n\n WATSON\n Inverness?", "Gabrielle glances past them, and her eyes widen.\n\n GABRIELLE\n (pointing off)\n What's that?\n\nHolmes and Watson turn their heads.", "The workmen trundle the cart off, the minister following.\nThe grave-diggers don their caps, pick up their shovels.\n\nFrom their vantage point, Holmes, Gabrielle and Watson\nare watching.", "HOLMES\n (nodding)\n By now they have been smuggled to Vienna,\n dressed as little girls in burgundy", "rather, his invention. They knew he was\nemployed by us, but they couldn't find\nout where -- so they enlisted the best\nbrain in England to help them. You, my", "They are proceeding along a causeway, away from a third\ncastle.\n\n CUT TO:\n\n\nEXT. LAKE SHORE - DAY", "DISSOLVE TO:\n\n\nEXT. COUNTRYSIDE - NIGHT", "He picks some up from the ground, hands them to Holmes,\nwho tosses them in the direction of the graves. The\npebbles strike a granite cross. At the sound, the four", "Holmes pries the lid open, disclosing the corpse of a\nmiddle-aged man. His arms are folded across his chest,\nand on the third finger of his left hand is a wedding", "He is in his middle fifties, extremely soigne, and\nsomewhat sinister. His name is ROGOZHIN, and he is\nRussian. Holmes and Watson look around.", "whispers something to them. Their eyes widen, and they\nstare at Watson with disbelief. Watson again switches\npartners, and the first girls now whisper intensely to", "It might interest you to know that\n\nThe page ends at this point. Watson turns the sheet of\npaper over with the tongs. The letter continues on the\nother side.", "She starts toward the spiral staircase. The equerry\nprecedes her up the stairs, the lady-in-waiting follows,\nthe scientists trail after them. Mycroft and Holmes\nlinger behind.", "Holmes has taken a railway guide from the shelf and is\nconsulting it.\n\n GABRIELLE\n You're sending me back to Brussels? Is\n that it?", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "A dozen elderly Establishment types are sunk deep in the\nleather armchairs, buried behind their copies of The\nTimes. Holmes and Watson are proceeding toward the", "The guide nods to Holmes, who dismounts, starts up the\nsteps, examining the red carpet. As he reaches the top,\nhe looks off.", "An open carriage is proceeding along the driveway toward\nthe hotel, scatting a flock of sheep grazing nearby.\nWatson is sitting beside the coachman. Holmes and", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon." ], [ "MYCROFT\n (to the Queen)\n This is my brother, Sherlock, Ma'am.", "Mycroft is an impressive figure of a man, seven years\nolder than Sherlock, impeccably dressed. Behind his\nsnobbish airs and bantering manner, one senses tremendous\nreserves of strength and authority.", "MYCROFT\n (to Watson)\n What a fertile imagination my brother\n has. At the age of five, by", "GABRIELLE\n Thank you.\n\n MYCROFT\n Don't thank me. Thank my brother. It\n was his idea.", "He exits. Holmes glances toward the telegram as Mycroft\nputs it down on his desk. Catching his look, Mycroft\nturns his telegram face-down, lets the monocle drop from\nhis eye.", "the Baskervilles to his mysterious\n brother Mycroft and the devilish\n Professor Moriarty. But there were other\n adventures which, for reasons of", "HOLMES\nYes, I am.\n\n MYCROFT\nWell, I can save you a lot of trouble.\n\n HOLMES\nI'd be grateful for any suggestion --", "upon reciept of this note. According to\n my calculations, that should be at 11:40\n a.m. Your brother, Mycroft.", "HOLMES\n Go on.\n\nAs Mycroft continues, Holmes picks up Ilse's water-soaked\nparasol and examines it.", "MYCROFT\n In here.\n\nHolmes passes inside, Mycroft following.\n\n\nINT. TENT - NIGHT", "As Holmes passes one of the tents, the flap opens and\nMycroft steps out, dressed in his inevitable frock coat.\n\n MYCROFT\n Mr. Ashdown, I presume.", "MYCROFT\n My dear Sherlock, there are certain\n affairs that do not come within the\n province of the private detective. They\n have to be dealt with on an altogether\n different level.", "HOLMES\n (to porter)\n To see Mr. Mycroft Holmes.", "WATSON\n (to Gabrielle)\n Do you know what he's talking about?\n\nThrough the open doorway comes Mycroft. In the corridor\nbehind him is one of his aides.", "MYCROFT\n Now if you'll excuse me, gentlemen --\n\n WATSON\n Goodbye, sir.\n\n HOLMES\n A pleasure, as always.", "Gabrielle. Holmes lowers the photograph. Behind it,\nMycroft is glaring at him with customary arrogance.", "He and Watson retrieve their hats, move toward the door.\n\n MYCROFT\n (to Holmes)\n Just a minute.\n (picks up Holmes' cane)\n You forgot your tool-kit.", "HOLMES\n Well, Mycroft, it seems we have both been\n undone by a woman.\n (Mycroft is staring at the\n sub)\n What a shame.", "WATSON\n Their brothers?\n\n HOLMES\n And they're not boys. They're as tall as\n they'll ever grow. Hand me some pebbles,\n will you?", "MYCROFT\n It's not for you.\n (calling into tent)\n McKeller.\n (to Holmes)\n May I have the champagne, please?" ], [ "The monster has started to submerge. Its head disappears\nbeneath the surface of the water, and the wake it leaves\nbehind soon trails off into the mist.\n\nHolmes ships his oar.", "Suddenly the surface of the water breaks, about twenty\nyards away from them, and the head and neck of the\nmonster rear up from the depths. Watson is first to", "About half a mile away, moving in and out of patches of\ndrifting mist, is Watson's monster, its long reptillian\nneck cutting through the water.\n\nWatson leaps to his feet.", "The monster is much closer now -- no more than a quarter\nof a mile away.\n\nSuddenly Watson stops rowing.", "The monster moves away from them, heading in the general\ndirection of the castle. It disappears into the mist.", "notice it and jumps to his feet, making choking noises.\nGabrielle sees it and screams. Watson grabs an oar,\nthrows it at the monster as it comes past. The backwash", "Through the swirling mist which clings to the surface of\nthe lake, a shadowy figure with a long, monster-like neck\ncan be see gliding along.\n\n 97.", "There is no sign of the monster. But the mist has\nmomentarily lifted to reveal the castle, and an odd sight\ngreets their eyes -- the wooden scaffolding in front of\nthe tower is slowly rising into the air.", "WATSON\n The monster!\n\n HOLMES\n The monster?", "HOLMES\n Not really. My guess is that the\n monster, after a hard day's work, has\n returned home for his supper.\n\n 109.", "the monster. Gabrielle leans forward in her seat, trying\nto peer past them through the curtains of mist.", "WATSON\n Are you trying to tell us it was the\n monster?", "over the conning tower is the head and neck of the\n\"monster\" we saw in the lake.", "HOLMES\nThere's a lake -- and there's a castle --\nand there's a swan that isn't really a\nswan -- or, in this case, a monster that\nisn't really a monster --", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "monster toward the ceiling, disclosing the conning tower\nand the periscope.", "WATSON\n (excitedly)\n Holmes, I saw it again -- that thing --\n it came from the castle -- it's out there\n --", "DISSOLVE TO:\n\n\nEXT. LOCH NESS - EARLY EVENING", "The Good Book is opened to a page headed: JONAH.", "HOLMES\nThe stethoscope is a very sensitive\ninstrument, and water is an excellent\nconductor of sound. There is no doubt\nthat what we are dealing with is a\nmechanical monster." ], [ "QUEEN VICTORIA\n A warship?\n (waving her hand)\n Stop that noise. Stop it!\n\nAt a signal from Mycroft, the sub engines are turned off.", "On the upper part of the ramp is a small, primitive\nsubmarine, resting on wheels. Prominently lettered on", "QUEEN VICTORIA\n (indicating sub)\n Nevertheless, we don't want any part of\n this beastly invention. Get rid of it!\n Scuttle it! The sooner the better.", "There is the sound of the engines starting. Mycroft\nleads the Queen to an open bulkhead in the side of the\nsub, with Holmes and rest of the party close behind.", "QUEEN VICTORIA\n You mean in can fire at other vessels\n while under water?\n\n MYCROFT\n Yes, Ma'am.", "inflating and deflating, etc. The midgets are at their\nstations in the cramped quarters, pulling switches,\noiling the engines, operating the periscope. Overhead is", "MYCROFT\n The Admiralty regards this craft as the\n ultimate weapon in naval warfare. It can\n seek out enemy ships and destroy them --\n with these torpedoes -- while remaining\n completely invisible.", "MYCROFT\n We call it a submersible, Ma'am. It\n travels under water.\n\n QUEEN VICTORIA\n Under water? What a fantastic idea.", "HOLMES\nBetter than that. We're going to let\nthem have the submersible. They will\nfind it with its engines running, all set", "The four surviving midgets appear on the deck, in wool\njerseys and navy caps. They start pulling on a chain\nwhich slowly raises the detachable head-and-neck of the", "The monster has started to submerge. Its head disappears\nbeneath the surface of the water, and the wake it leaves\nbehind soon trails off into the mist.\n\nHolmes ships his oar.", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "126.\n\n\n All that superb engineering, and all that\n cunning espionage, for nought.", "MYCROFT\n Not necessarily. If the Germans want\n that submersible so badly, why don't we\n give it to them?\n\n HOLMES\n Give it to them?", "MYCROFT\nDuring a test run in Moray Firth,\npressure caused a leak in the hull. Sea\nwater mixed with the acid in the", "MYCROFT\n Yes, Ma'am. These are the levers for\n firing the torpedoes, which are accurate", "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "bit damp, I'm afraid -- would you care to\n let them know where they can find the\n submersible?\n (Gabrielle makes no move to", "MYCROFT\nNot quite that unique. Right now, four\ncountries are trying to develop what we\ncall a submersible. But none of them\ncould solve the critical problem -- how\nto stay submerged long enough to make it\neffective.", "Present are half a dozen naval personnel, commanded by an\nofficer. As the royal party comes down the spiral\nstaircase, the officer snaps to attention. Mycroft is in" ], [ "von Hoffmanstal was arrested last week by\n the Japanese counter-intelligence service\n for spying on naval installations in\n Yokohama harbour. After a secret trial,", "GABRIELLE\nIt's von Hoffmanstal.\n\n HOLMES\nI stand corrected.", "Ibbetson, actually saw the dirigible, and\n made a drawing of it. Unfortunately, he\n was apprehended before he could cross the\n border.", "MYCROFT\n We have conclusive proof, Ma'am. Our\n agent in Friedrichshafen, a man named", "The other monk looks up. Under the cowl we recognize the\nface of von Tirpitz.\n\n DISSOLVE TO:\n\n 86.", "apparently suffering from amnesia -- is,\n in fact, Ilse von Hoffmanstal, one of\n their most skillful agents. Am I going", "GABRIELLE\nYou're all wrong about me. My name isn't\nHoffmanstal.\n\n HOLMES\nIt isn't?", "MYCROFT\n They are. But you're not going to jail.\n You're going back to Germany.\n\n GABRIELLE\n Germany?", "fifty, and his name is VON TIRPITZ. He looks up toward\nthe Holmes flat. As the hansom makes a U-turn and comes", "MYCROFT\n I'm rather counting on you to do it.\n Since you are on such intimate terms with\n Fraulein von Hoffmanstal.\n\nO.s., the bagpiper resumes playing.", "rather, his invention. They knew he was\nemployed by us, but they couldn't find\nout where -- so they enlisted the best\nbrain in England to help them. You, my", "cabbie who fished Gabrielle out of the river, and in the\npassenger seat is Von Tirpitz, the craggy-faced Prussian\nwe saw before. He stares fixedly after Holmes and", "HOLMES\n (nodding)\n By now they have been smuggled to Vienna,\n dressed as little girls in burgundy", "HOLMES\n (holding up photo)\n And this is your husband, Emile Valladon?\n\n GABRIELLE\n Yes.", "MYCROFT\n That's precisely it, Ma'am. At this very\n moment the Germans under Count von\n Zeppelin, are experimenting with a\n dirigible --", "Holmes lowers the glasses, returns them to Watson.\n\n HOLMES\n Very strong arches, I must admit.\n\n WATSON\n They say twelve men have died for her.", "HOLMES\n Extremely so. You see, they are not only\n midgets -- but also anarchists.\n\n WATSON\n Anarchists?", "MYCROFT\n The Germans disposed of her three weeks\n ago, in Brussels. This is Gabrielle\n Valladon.", "HOLMES\n Madame Valladon, somebody tried to kill\n you last night. Do you have any idea who\n could have done it?\n\n 61.", "hansom parked across the street, and von Tirpitz\nwatching. He signals to the cabbie, who is back on his\nperch. The cabbie flicks his whip, and the hansom takes" ], [ "Watson resumes working on his manuscript. Suddenly the\nmusic stops. Watson looks up apprehensively. Holmes has\nput down the violin, and is crossing to the sideboard.", "As Holmes continues opening and closing the parasol,\nGabrielle gets out of bed, comes up beside him. Holmes\nfinishes the message, shuts the parasol, draws it back\ninto the room. Then he looks out the window.", "HOLMES\n The answer is yes.\n (a relieved sigh from Watson)\n You're being presumptuous.\n (Watson's face falls)\n Good night.", "GABRIELLE\n I just hope it doesn't come back.\n\n HOLMES\n I don't think it will.\n (pointing off)\n Look!", "No answer from Holmes. We now see -- but Watson does not\n-- that the chair is occupied by a section of Holmes'\nsmoking machine, with the pipe attached.", "He looks at Holmes almost triumphantly.\n\n CUT TO:\n\n\nSERIES OF SHOTS - DAY", "In contrast to the frenetic ambiance of the back-stage\nparty, the room seems doubly placid. Holmes, his dinner\ncoat replaced by a smoking jacket, is sitting in the wing", "As they burst into the room, they see Holmes sitting on\nthe stool beside the chemistry table, a revolver in his\nhand. He has shattered one of the narcotics bottles on\nthe mantelpiece, and is aiming at a second one.", "HOLMES\n (preoccupied)\n Hand me that lantern.\n\nWatson passes down the lantern, and Holmes slowly shines\nthe beam along the length of the coffin.", "Holmes moves around the tent, taking all this in.\n\n HOLMES\n Interesting -- and educational.\n\n 115.", "He has slit open the envelope. Watson watches him\ncuriously as he reads the letter, but Holmes' face\nremains expressionless. Slowly he puts down the letter,", "HOLMES\n None whatsoever. If you must know, I\n found her body quite rewarding.\n\n WATSON\n You cad!", "The guide nods to Holmes, who dismounts, starts up the\nsteps, examining the red carpet. As he reaches the top,\nhe looks off.", "From Holmes' bedroom comes the sound of a melancholy tune\nbeing played on the violin. Watson starts to ease\nLestrade out of the door.\n\n WATSON\n Good day, Lestrade.", "She exits, shutting the door. For a while, the two go on\nworking. Then Holmes rises abruptly from the chemistry\ntable.\n\n HOLMES\n She's right. I am suffocating.", "HOLMES\n Thoroughly. But this will take care of\n it.", "HOLMES\n Not really. It was simple choice between\n a bad habit and a good companion.\n\n WATSON\n You've made me very happy.", "Watson has lowered his clasped hands, and Holmes uses\nthem as a foothold to go scrambling up the scaffolding of\nthe nearby wall. Reaching the top, he looks off in the\ndirection of the tower.", "WATSON\n (a note of excitement)\n The three boxes. Is that it, Holmes?\n\n HOLMES\n I would think so.", "HOLMES\n Thank you.\n\nThe manager starts toward the door, nodding to Watson." ] ]

[ "Who does Sherlock Holmes single out as his lover?", "Where is Gabrielle from? ", "What river is Gabrielle pulled from?", "Who is working on building a World War I submarine? ", "What is this submarine disguised as? ", "What does Gabrielle's husband do for a living?", "Who comes to inspect the new weapon? ", "What does the Queen order Mycroft to do with the submarine?", "How was Vonn Hoffmanstal executed? ", "What does the ballerina propose to Holmes?", "How did Holmes manage to extricate himself?", "What was Hoffmanstal sent to do?", "What did Gabrielle ask Holmes to do?", "Where is Gabrielle found?", "Who are the \"monks\"?", "What did Mycroft do when ordered to destroy the weapon?", "How did Queen Victoria feel about the new weapon?", "How did Hoffmanstal die?", "How did Sherlock find out Hoffmanstal had been arrested?", "What is Madame Petrova reason for meeting Sherlock Holmes?", "Why does Madame Petrova want to have Sherlock Holmes baby?", "Who is fished out of the water and and then taken to Baker Street?", "What job does the missing man have?", "What country does this investigation take them?", "What is Sherlock's brother?", "What desgusied as a sea monster?", "Who ordered the submarine to be to be destroyed?", "Why was Von Hoffmastal arrested?", "What solace does Holmes find when this is over?" ]

[ [ "Watson", "Watson" ], [ "Belgium", "Belgium" ], [ "Thames River", "River Thames " ], [ "Mycroft", "Mycroft" ], [ "A sea monster", "sea monster" ], [ "He is an engineer", "He is an engineer. " ], [ "Queen Victoria", "Queen Victoria" ], [ "Destroy it", "destroy it" ], [ "By firing squad", "By firing squad " ], [ "That they have a child together.", "That they conceive a child together" ], [ "By claiming that Watson is his lover.", "Claiming Watson is his lover" ], [ "Steal the submersible.", "Steal the submersible." ], [ "To help her find her husband.", "She asks him to find her missing husband" ], [ "She is fished out from the River Thames.", "the rive Thames " ], [ "German sailors.", "German sailors" ], [ "He left it unguarded for the monks to take.", "left it unguarded " ], [ "She objected to its unsportmans-like nature", "she thinks it is unsportsmanlike" ], [ "He was executed by a firing squad in Japan.", "He was executed by a firing squad. " ], [ "His brother sent him a message.", "He gets a message from his brother " ], [ "She wants to conceive his child.", "she wants him to father a child with her" ], [ "So the baby would have her looks and his brain.", "To inherit her looks and his intelligence " ], [ "Grabrille Valladam.", "Gabrielle Valladon" ], [ "He is an Enginee.r", "Engineer" ], [ "To Scotland.", "Scotland" ], [ "It is Mycroft.Holmes.", "He works for a top German spy" ], [ "a World War 1 submarine", "the submarine" ], [ "Queen Victoria", "Queen Victoria" ], [ "As being a spy for Japan", "for spying" ], [ "Drugs and his violin", "He finds solace in drugs and his violin." ] ]

[ [ "DAVE\n Who?\n\n MARK\n What?", "MARK\n Yeah, he lives up on the hill.\n We're probably gonna head over\n there right after we bury your mom.\n\n DAVE\n Well I gotta shower.", "9\n\n DAVE\n Which cousin?\n\n MARK\n Terry.", "MARK (O. S.)\n Vagina!\n\n LARGE\n Oh, no.\n Mark, Dave and Jesse appear with some others.", "MARK\n Supposedly.\n\n DAVE\n Supposedly.\n\n LARGE\n Really?", "DAVE\n In LA right?\n\n LARGE\n Yeah.", "Dave hugging, two-figures moving quickly under a blanket.\n Kenny in full riot gear letting people take turns hitting him\n in his helmet.", "They walk through the crowd as Mark recruits cute girls to\n join them upstairs. They walk up the stairs past family\n pictures and school photos made crooked by drunken backs.\n Mark points to a photo of an awkward looking young man.", "Dave has a young girl on his lap. Large begins to notice that\n the girls in the room, although quite attractive, are pretty\n young; 17-19.", "MARK\n Where the fuck you been, man?\n You're like still acting and shit,\n right?\n\n LARGE\n Yeah.", "INT. MARK'S LIVING ROOM -- MORNING", "Mark, Sam and Large enter the tacky lobby. Mark carries the\n gym bag.\n Large and Sam follow Mark down a corridor and into a vending", "Carol smokes a thin cigarette. Mark is shirtless. No one\n addresses the fact that it says \"Balls\" in black marker On\n Large's forehead.", "MARK\n Here, bro.\n He passes Large the golf book.\n\n LARGE\n Oh no thanks, man.", "MARK\n Hey. We gotta get going.\n\n LARGE\n Yeah, well it was great to see you,\n man. I'm sure I'll see you around.", "MARK (CONT'D)\n Check that out.\n Mark points to a hole in the ceiling where a ceiling fan has\n been ripped out. Wires dangle. The fan lies next to the bed.", "MARK (CONT'D)\n You want to see the most fucked up\n thing?\n They arrive at the landing outside a door with a \"New Jersey\n Devils\" poster on it.", "MARK\n What do you mean, this is nice.\n\n LARGE\n ah nothing, just hanging out in an\n old boat at the bottom of a quarry\n in Newark.", "MARK\n You see this?\n\n LARGE\n in that him?\n\n MARK\n That was him. Dug the hole myself.", "MARK\n It's hardly the bottom, dude. Did\n you see that cliff?\n Albert returns with FAYE, an equally gentle and caring\n looking woman in her early thirties." ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "DOCTOR\n First of all, I do think you need\n to find a psychiatrist that isn't\n your father. That just's something", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "call him and he'll fit you in. I'm\n sure it's nothing to worry about.\n Silence. Large nods.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "(BEAT)\n Dad?\n After shutting the door behind himself he' crosses to the", "(SLIGHT ACCENT)\n okay, Andrew. I'm going to need you\n to fill out this paperwork for me,\n and we'll call you when we're ready\n for you.", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "GIDEON\n Go see Dr. Cohen first thing\n tomorrow morning. Re's a\n neurologist in my building. I'll", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "DOCTOR\n There's absolutely nothing wrong\n with you.\n Large stares.\n\n LARGE\n What?" ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "GIRL (CONT'D)\n Oh, he's gonna be sore tomorrow.\n WIDE SIDE ANGLE ON: the whole waiting room. Everything still\n but the dog's thrusting pelvis.", "(SLIGHT ACCENT)\n okay, Andrew. I'm going to need you\n to fill out this paperwork for me,\n and we'll call you when we're ready\n for you.", "GIRL HOOKING UP\n Is that Andrew Largeman?\n\n LARGE\n (squinting to see)\n Yeah, who's that?", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "As he pans the room, he lock eyes with a BEAUTIFUL YOUNG\n GIRL. They play chicken briefly to see who will break the\n stare first. Large does and looks to his right where someone", "IT. NEUROLOGIST'S WAITING ROOM - DAY\n Large rushes in to the counter. A female Hispanic\n RECEPTIONIST looks up.", "Large flings open the door and enters a long, dark corridor\n lined with stacked chairs. He passes a WAITER in a black\n TUNIC wearing eye make-up to make him look Asian.", "RECEPTIONIST\n Mrs. Lubin?\n\n MRS. LUBIN\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "3\n After a moment he looks to his right through a window into a\n gym where a man on a Stairmaster is walking alongside him.\n Large registers something: he isn't going anywhere." ], [ "SAM\n I know. But that... that is life.\n if nothing else...\n (pointing to his chest)", "SAM (CONT'D)\n Look at me.\n\n (BEAT)\n Look at me.\n He does. And we see a vulnerable, lonely, little boy.", "LARGE\n So what should we laugh at you\n about?\n\n SAM\n I lied again. I have epilepsy.", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "SAM (CONT'D)\n What is it?\n He looks away. Soared.\n\n SAM (CONT'D)\n Look at me.\n He does.", "SAM (CONT'D)\n Tissue?\n They both laugh; a release.", "SAM\n Oh, I've done that one before.\n She bursts out laughing. He smiles.\n SAM (CONT ' t3 )", "SAM (CONT'D)\n (in a whisper)\n Let go. Listen to me. Just don't", "SAM\n Oh my God.\n\n \n\n \n\n \n\n \n\n E", "(BEAT)\n Yeah, I uh... I haven't even really\n told you that yet, but uh... yeah\n my Mom just died.\n Sam stops digging and stares at him.", "SAM\n\n (LAUGHING)\n Shut-up. No, I mean I had it since\n I was born. it was the blanket they\n brought me home in from the\n hospital.", "A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She\n breaks the moment by pulling a small tattered piece of satin\n fabric off the bed.", "SAM\n Yeah and he's been here ever since.\n He's an amazing guy, you gotta hear\n some of his stories. I mean this", "SAM\n Until now.\n\n MARK\n For her funeral.", "SAM\n Just let it all go.\n He cries with his elbow over his eyes.", "She kisses Sam on the cheek and then she's gone.\n They stand there a moment to catch their breath. Then they\n both start laughing.", "SAM\n How do you feel?\n On Large's face as he thinks about that question.\n\n LARGE\n Safe.", "Sam tries slapping them on their backs.\n OLIVIA, Sam's mother, comes rushing in clutching a hamster\n with a bloody nose.", "OLIVIA\n Yes, you could have. Don't blame it\n on the epilepsy, you had a gift.\n Large looks to Sam, but she avoids eye contact with him-", "SAM\n Yeah, it's weird, huh? You're so\n freaked out right now, you're like\n running for the door. You can go,\n don't feel bad." ], [ "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "LARGE\n No. Drumroll... I was the reason\n she was in a wheelchair.\n\n (BEAT)\n I pushed her.\n\n (MORE)", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "79\n\n LARGE\n Still want to compare fucked up\n families?\n\n JESSE\n But your Mom was in the wheelchair\n long before you left.", "HIS FINGERS as they slide down off the bathroom door frame.\n He backs away slowly to the bed and site down; staring\n blankly at the bathroom door. And then he starts to SOB.", "OLIVIA\n Yes, you could have. Don't blame it\n on the epilepsy, you had a gift.\n Large looks to Sam, but she avoids eye contact with him-", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "MARK\n i don't take anybody's money,\n Andrew. I make my own. Favors are\n bad news. And the only thing worse\n than a favor, is a favor involving\n money.", "LARGE\n We deserved nothing more than you.\n And you deserved nothing more than\n us.\n Large puts his hand on the center of his father's bare chest." ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "I'd never know it, because as far\n back as I can remember I've been\n medicated. I grew up on it. I left", "DOCTOR\n First of all, I do think you need\n to find a psychiatrist that isn't\n your father. That just's something", "had. Has he got you on Lithium\n yet? Wait till he does, you'll love\n him even more.\n He stands.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "DOCTOR\n Well with all the Lithium he's had\n you on it's amazing you can even\n hear me right now_\n\n LARGE\n Oh, right.", "\"curb my anger\". And I've been on\n some form of them ever since. My\n Mother who was clinically depressed\n before the accident, sank even", "abnormally angry at all. I mean it\n all happened so quickly; I got\n prescribed all these drugs for\n anxiety and depression and anger so", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "sixteen my psychiatrist Dad came\n around to the conclusion that it\n might not be the healthiest\n environment for me to be growing up", "DOCTOR\n And what about Paxil, Zoloft,\n Celexa, Depakote; did any of that\n ever help you?", "LARGE\n E)h well, my psychiatrist is my Dad.\n So uh... he... I think he'd prefer", "head and you see so clearly what a\n freak thing it was. I... Say whole\n life she was depressed for no\n reason. Look at this picture.", "fired my psychiatrist, I gotta go\n out and find a new one.\n He stares off. Decision time.", "His face and chest are immediately replaced with the two\n dozen orange prescription drug canisters that immaculately\n line the shelves of his medicine cabinet.\n\n He closes the mirror doors and stares at himself.", "LARGE\n Well I was nine. They sent me to\n therapy and my Father put me on\n these drugs that were supposed to", "DOCTOR\n Have you spoken to your\n psychiatrist about that?", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "LARGE\n Wow, that was so clever how you did\n that. Is he grooming you to be a\n psychiatrist too? Med school's one\n thing, but please don't become him." ], [ "ALBERT\n Good-bye.\n Albert stands with his arm around Faye in their warm doorway.\n As the three of them climb down the ladder and head up the\n path. Large turns back' around.", "ALBERT\n Yeah, I guess it is. We also trade\n and deal in antique jewelry. I\n suppose it's pretty odd for you that\n we live down here like this-", "ALBERT\n What they don't know is that I'm a\n geologist working undercover for\n the preservation lobby. So, at\n night... I go down.", "ALBERT\n Who knows? Maybe. But I used to\n think that was all that mattered.\n No matter what it was, as long as I", "ALBERT\n No one really knows. I've been in\n the furthest and that was about two\n miles down. But I like to pretend\n it's infinite.", "ALBERT\n I don't know. It's exciting. New\n frontiers are hard to come by these\n days. I guess I just like the idea\n of discovering something.", "ALBERT\n But we think it's important.\n\n LARGE\n Why? What do you think you'll find?", "ALBERT\n (in a whisper)\n Mark?\n\n MARK\n Yeah. Are you Albert?", "He takes a deep breath. Large, Sam and mark stare at Albert;\n TRANSFIXED. He's like a sage.", "ALBERT\n Well I think that force would\n rather remind you that \"breathing's\n all it takes to be a miracle\".", "ALBERT\n This is my wife, Faye.\n\n ALL\n Hi. Hello.", "ALBERT\n (with a smile)\n Yes. Come on in out of the rain.\n Sam and Large look at each other, then follow Mark up an A-\n frame ladder that sits next to the hull.", "ABYSS1\n\n ALBERT\n (with a smile)\n Thank you.\n\n (BEAT)\n\n HEY]", "100\n After a moment, ALBERT, a very gentle looking man in his mid-\n thirties with a newborn baby asleep on his shoulder appears\n on the deck. He smiles warmly-", "Albert. lie's the one that tracked\n down the piece you're looking for.\n I'll call him right now and tell\n him to expect you.", "INT. ALBERT'S BOAT -- CONTINUOUS", "ALBERT\n You guys must be freezing. Make\n yourselves warm by the fire. I'm", "GREAT MUSIC BEGINS.\n\n ALBERT\n Well i suppose you want what you\n came all the way down here for.", "ALBERT\n Good question. We're calling it\n Kiernan's Fault. And no one's\n really quite sure what it is", "SAM\n I know. But that... that is life.\n if nothing else...\n (pointing to his chest)" ], [ "MARK\n i don't take anybody's money,\n Andrew. I make my own. Favors are\n bad news. And the only thing worse\n than a favor, is a favor involving\n money.", "They walk through the crowd as Mark recruits cute girls to\n join them upstairs. They walk up the stairs past family\n pictures and school photos made crooked by drunken backs.\n Mark points to a photo of an awkward looking young man.", "MARK (CONT`D)\n This is the tucked up thing.\n Be swings the door to the bedroom open revealing the dark", "MARK\n Actually, no. It was a gift.\n She clicks her tongue. She begins filling out a form.\n\n WOMAN\n Why are you returning these?", "MARK\n It's a surprise, you'll see.\n Mark walks on ahead of them down a path that winds down\n alongside the abyss.", "MARK\n Here, bro.\n He passes Large the golf book.\n\n LARGE\n Oh no thanks, man.", "MARK\n Okay, how 'bout this.\n He holds up a bottle of Tequila with a ribbon around !.to\n neck.", "94\n (Yes, that really happens.) As he looks at Mark, Sam and\n Large, his forehead is filled with the image of a BUSINESS\n MAN brushing his teeth. Mark leans into his ear.", "Silence. Large stares at Mark in disbelief, then starts to\n LAUGH. They all start to join him except Mark. They stop\n laughing.", "ALBERT\n It took me awhile to track this\n piece down. But I owe Diego huge.\n He pulls a small paper bag off the counter and hands it to\n Mark. Mark looks inside and nods his head.", "92\n\n LARGE\n Mark's picking up something.\n\n CYNTHIA\n He's as friendly as always.\n The three stand in awkward silence.", "MARK (CONT'D)\n Hey, if you ever need a Kato, you\n know where to find me.\n Large sits back down on the bike into Sam's wet arms. He\n stares at the pendant in his hand.", "MARK\n You see this?\n\n LARGE\n in that him?\n\n MARK\n That was him. Dug the hole myself.", "MARK\n Blow? Please. If I was gonna give\n you coke we'd have gone to the high\n school football practice and we'd a\n been reeling five hours ago.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "MARK (CONT'D)\n Check that out.\n Mark points to a hole in the ceiling where a ceiling fan has\n been ripped out. Wires dangle. The fan lies next to the bed.", "CAROL (CONT'D)\n Shit, I gotta go to my meeting.\n Okay.\n She stands up and then leans over and kisses Mark on the top\n of his head.", "sits right on the edge of the cliff. It's windows glow warm\n and welcoming.\n Mark stands in front of the boat. This isn't what he", "MARK\n You know what that means, Tim?\n\n TIM\n No I don't know the whole language,\n I just...", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery" ], [ "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "They pause for a moment, staring at each other, transfixed by\n adrenaline and spontaneity. Slowly Large leans in and they\n kiss amidst an almost desolate baggage claim area.", "ALBERT\n Good-bye.\n Albert stands with his arm around Faye in their warm doorway.\n As the three of them climb down the ladder and head up the\n path. Large turns back' around.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "3\n After a moment he looks to his right through a window into a\n gym where a man on a Stairmaster is walking alongside him.\n Large registers something: he isn't going anywhere.", "IN BLACK:\n THE BLARE OF A JET LINER TARING OFF dissolves into\n\n INT. AIRPORT BATHROOM -- DAY", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "the beverage cart slides down the aisle, Andrew Largeman sits\n peacefully; unaffected.", "reflections on his cheeks, even as the young mother seated\n next to him clutches her newborn and wails towards God, even\n as bags fall from the overhead compartment at half-speed and", "sink and just stares off across the room. She dries her hands\n and moves to Large. She opens her arms. After a beat he steps\n into her embrace. He rests his head on her shoulder and", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "DISSOLVE TO,\n\n INT. NEWARK AIRPORT STAIRCASE -- MORNING\n\n Large sits next to Sam on a staircase between two escalators.", "He calmly reaches up and turns his air vent so it blows\n directly on him. He looks up to\n\n THE FASTEN SEAT BELT SIGN", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "THE CAMERA PULLS BACK to reveal he's been walking up on the\n down side. He stands still and lets it bring him all the way", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "stares at himself in the mirror for a moment. He tilts his\n head to the right and stares at his body.\n He pulls the shirt on and buttons up the front. As he does", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM" ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "I'd never know it, because as far\n back as I can remember I've been\n medicated. I grew up on it. I left", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "LARGE\n Well I was nine. They sent me to\n therapy and my Father put me on\n these drugs that were supposed to", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "\"curb my anger\". And I've been on\n some form of them ever since. My\n Mother who was clinically depressed\n before the accident, sank even", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "GIRL HOOKING UP\n Is that Andrew Largeman?\n\n LARGE\n (squinting to see)\n Yeah, who's that?", "His face and chest are immediately replaced with the two\n dozen orange prescription drug canisters that immaculately\n line the shelves of his medicine cabinet.\n\n He closes the mirror doors and stares at himself.", "DOCTOR\n Well with all the Lithium he's had\n you on it's amazing you can even\n hear me right now_\n\n LARGE\n Oh, right." ], [ "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "neck hitthekitchen counter;\n paralyzing her from the waist down.\n Sam's eyes are wide in shock.", "LARGE (CONT'D)\n My Mom was a paraplegic; she had\n uh... she was in a wheelchair. She", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "LARGE\n No. Drumroll... I was the reason\n she was in a wheelchair.\n\n (BEAT)\n I pushed her.\n\n (MORE)", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "79\n\n LARGE\n Still want to compare fucked up\n families?\n\n JESSE\n But your Mom was in the wheelchair\n long before you left.", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "was uh... taking a bath and then I\n guess she slipped or something.\n That's what they say. I don't know.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "photo not smiling. This is Sarah Largeman. She stands; not\n yet requiring a wheelchair.\n He crosses to the bed and sits down. The surface sends waves", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "lower to the point where she just\n ignored everyone but our\n housekeeper, Janice and her\n daughter, Cynthia. And when I was", "head and you see so clearly what a\n freak thing it was. I... Say whole\n life she was depressed for no\n reason. Look at this picture.", "That's it. That's all you get. She\n died. We will never see her again.\n She tried very hard, but she just" ], [ "SAM\n People call me lots of things.\n\n LARGE\n Is one of them \"liar\"?", "SAM\n okay so sometimes I lie. I'm weird,\n man. About random stuff too; and I", "LARGE\n So how am I supposed to know what's\n real?\n\n SAM\n Well, I always feel bad and admit\n them when they're lies.", "LARGE\n So what should we laugh at you\n about?\n\n SAM\n I lied again. I have epilepsy.", "LARGE\n Liar.\n The light changes and they drive off.\n\n EXT. JESSE'S MANSION'S FRONT YARD - DAY", "SAN\n What do you consider a lot?\n\n LARGE\n Enough for people to call you a\n liar.", "Further down the path. Sam looks to Large. He uses an old mop\n handle he's found as a walking stick.\n As they continue along the path it begins to get continually", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "(HE LAUGHS)\n And she just handed me her sleeve\n and told me to just blow my nose\n into it. And I remember thinking,", "GIDEON\n You want to make her crazy. Why?\n Does that make it easier for you?\n Tears stream down Gideon's face, He sits down on the toilet\n and cries.", "MARK\n It's a surprise, you'll see.\n Mark walks on ahead of them down a path that winds down\n alongside the abyss.", "Large and Sam lie naked in each other's arms. She's asleep.\n He lies wide awake resting his cheek on top of here.", "life. We can figure this stuff out.\n I wanna help you. We need each\n other; I haven't even lied in two\n days.", "one knew who I was. I couldn't get\n laid. This is a much better\n situation for me. Speakin' of\n which, how did I do?", "LARGE\n Why were you really there?\n\n SAM\n Charging. I'm a robot.\n\n LARGE\n Do you lie a lot?", "SAM\n I could say \"no\", but how will you\n know I'm not lying.\n\n LARGE\n Because I`ll choose to trust YOU.", "GIDEON\n I know! Do you think I don't know?!\n\n LARGE\n And c'mon let's be honest; she\n tried it before.", "GIDEON\n I have very fond memories of the\n two of you running around here when\n you were little kids like brother\n and sister.\n Silence.", "KARL\n He stole my little brother's last\n dose of Ritalin and the little\n fucker glued his lips closed.\n Weren't you on TV or something?", "LARGE\n I'm just saying the facts.\n\n GIDEON\n No." ], [ "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "DOCTOR\n There's absolutely nothing wrong\n with you.\n Large stares.\n\n LARGE\n What?", "(SLIGHT ACCENT)\n okay, Andrew. I'm going to need you\n to fill out this paperwork for me,\n and we'll call you when we're ready\n for you.", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "His face and chest are immediately replaced with the two\n dozen orange prescription drug canisters that immaculately\n line the shelves of his medicine cabinet.\n\n He closes the mirror doors and stares at himself.", "HIS FINGERS as they slide down off the bathroom door frame.\n He backs away slowly to the bed and site down; staring\n blankly at the bathroom door. And then he starts to SOB.", "GIDEON\n Go see Dr. Cohen first thing\n tomorrow morning. Re's a\n neurologist in my building. I'll", "3\n After a moment he looks to his right through a window into a\n gym where a man on a Stairmaster is walking alongside him.\n Large registers something: he isn't going anywhere.", "DOCTOR\n Well it'll leave your body pretty\n fast. I'll write you a\n prescription.\n\n LARGE\n Actually I. was thinking about\n taking a little vacation." ], [ "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "They walk through the crowd as Mark recruits cute girls to\n join them upstairs. They walk up the stairs past family\n pictures and school photos made crooked by drunken backs.\n Mark points to a photo of an awkward looking young man.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "UP AND SLOW MOTION.\n The party seems to fast forward around Large; the MUSIC FADES\n TO ONE LOW NOTE until it breaks with people calling his name.", "JESSE\n Well then here. Eat this.\n Jesse opens his palm to reveal a tiny hit of E with a SMILEY\n FACE on it.", "people hooking up, girls kissing girls, guys feeling girls\n up, joints being passed, one girl crying, Mark showing off\n his golf swing, Large trying to take deep breaths, Jesse and", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "HIS FINGERS as they slide down off the bathroom door frame.\n He backs away slowly to the bed and site down; staring\n blankly at the bathroom door. And then he starts to SOB.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "MARK\n Blow? Please. If I was gonna give\n you coke we'd have gone to the high\n school football practice and we'd a\n been reeling five hours ago.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "MARK\n Nice. Let's get fucked up.\n Off Large's smile we:\n\n DISSOLVE TO:", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "I'm not gonna take all those drugs\n anymore. Because they've left me\n completely numb. I have felt so\n fucking numb to everything I have", "The group loves this idea- As they laugh and party the CAIa.ERA\n FINDS ITS WAY to Large's face as he feels the weed and the", "GIRL HOOKING UP\n Is that Andrew Largeman?\n\n LARGE\n (squinting to see)\n Yeah, who's that?", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes." ], [ "Mark stands in the open grave STEALING VALUABLES FROM AN OPEN\n COFFIN. A small PILE OF JEWELRY sits beside the grave.", "A large group of people are gathered around a steel coffin.\n Atop the coffin site a framed picture of a tired looking", "ALBERT\n Yeah, I guess it is. We also trade\n and deal in antique jewelry. I\n suppose it's pretty odd for you that\n we live down here like this-", "LARGE\n Someone stole it?\n\n MARK\n One of my Mom's Medieval Times\n friends, man. Drug addicts.", "MARK\n You see this?\n\n LARGE\n in that him?\n\n MARK\n That was him. Dug the hole myself.", "GIDEON LARGEMAN shovel a handful of dirt onto the casket.\n Behind him stands CYNTHIA DILLARD, 25, a beautiful young\n Black woman.", "A giant rusted yellow tractor sits parked by an open grave-\n Large and Jesse lean against opposite tombstones facing each\n other.", "wet from the rain. He pulls out an ANTIQUE NECKLACE with a\n square pendant on it. He puts it in Large's wet hand.", "FROM SUBTITLES.\n They squeeze down a long dark corridor filled with graffiti.\n They come upon a young teen staring through a peep hole in", "MAN 1\n Somebody ate all the lox.\n THE CAMERA MOVES TO: Two very Jewish older ladies\n simultaneously telling the same story to a group of friends.", "Large wears the necklace around his neck. He plays with the\n pendant...\n EXTREME CLOSE-UP INSIDE TEE PENDANT: It's an antique game", "During all this, Large remains calm and unphased. He takes a\n stick of eye make-up from the pocket of the tunic and paints", "ruder than talking about someone\n else who died while you're in the\n act of burying a close friend.\n Sam places the box in the hole she's dug.", "The song finishes and the rabbi begins a series of Hebrew\n prayers. Large squints through the mourners to see his father", "SAM\n Until now.\n\n MARK\n For her funeral.", "They sit, soaked from the rain in the empty bath tub where\n Sarah Largeman drowned,, cross-legged facing each other.", "SAM\n What should we do?\n\n LARGE\n Well IIve only been to one of these\n things,\n (re: the other graves)\n you appear to be the expert.", "(BEAT)\n Did you see Cynthia?\n\n LARGE\n From afar at the cemetery.", "Large flings open the door and enters a long, dark corridor\n lined with stacked chairs. He passes a WAITER in a black\n TUNIC wearing eye make-up to make him look Asian.", "CYNTHIA\n Yes.\n He backs away and mounts his bike. Cynthia turns to the\n stretcher and quickly uses her thumb to swipe a tear,welling\n in her eye." ], [ "(BEAT)\n Yeah, I uh... I haven't even really\n told you that yet, but uh... yeah\n my Mom just died.\n Sam stops digging and stares at him.", "SAM\n Until now.\n\n MARK\n For her funeral.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "ruder than talking about someone\n else who died while you're in the\n act of burying a close friend.\n Sam places the box in the hole she's dug.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "107\n if my mother were sitting here I\n would tell her...\n Silence. The faucet DRIPS behind him.\n\n SAM\n What?", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "SAM\n Oh, I've done that one before.\n She bursts out laughing. He smiles.\n SAM (CONT ' t3 )", "SAM\n Why not? I'm curious. She's sitting\n here, across from you and you can\n say anything at all. All the things\n you never got a chance to say.", "OLIVIA\n Oh. Well, welcome, welcome.\n Samantha I told you to take the\n wheel out of the hamster cage.\n She holds up a dead hamster.", "A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She\n breaks the moment by pulling a small tattered piece of satin\n fabric off the bed.", "SAM\n its not funny. Jelly you were a\n great pet.\n Tears roll down her face.", "She kisses Sam on the cheek and then she's gone.\n They stand there a moment to catch their breath. Then they\n both start laughing.", "SAM\n This is it.\n She puts on a CD, (the song: \"I'm Doing Fine\" by Colin Hay).\n\n SAM (CONT'D)\n Nothing fancy, but...", "OLIVIA\n Andrew would you like to see Sam's\n ice skating tape?\n\n SAM\n Mom, no.\n\n LARGE\n Absolutely.", "SAM\n Titembay, this is my friend,\n Andrew. Andrew this is my brother,\n Titembay.\n\n LARGE\n Hi, nice to meet you.", "SAM\n I know. But that... that is life.\n if nothing else...\n (pointing to his chest)" ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "I'd never know it, because as far\n back as I can remember I've been\n medicated. I grew up on it. I left", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "LARGE\n Well I was nine. They sent me to\n therapy and my Father put me on\n these drugs that were supposed to", "DOCTOR\n First of all, I do think you need\n to find a psychiatrist that isn't\n your father. That just's something", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "\"curb my anger\". And I've been on\n some form of them ever since. My\n Mother who was clinically depressed\n before the accident, sank even", "His face and chest are immediately replaced with the two\n dozen orange prescription drug canisters that immaculately\n line the shelves of his medicine cabinet.\n\n He closes the mirror doors and stares at himself.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "sixteen my psychiatrist Dad came\n around to the conclusion that it\n might not be the healthiest\n environment for me to be growing up", "had. Has he got you on Lithium\n yet? Wait till he does, you'll love\n him even more.\n He stands.", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "abnormally angry at all. I mean it\n all happened so quickly; I got\n prescribed all these drugs for\n anxiety and depression and anger so", "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "DOCTOR\n Well with all the Lithium he's had\n you on it's amazing you can even\n hear me right now_\n\n LARGE\n Oh, right.", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery" ], [ "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "VOICE ON MACHINE (0.S.)\n Andrew... This is your father.\n LARGE'S EYES slowly float open.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "CYNTHIA\n I bet my Mom a dollar you were\n coming home with a message. I said\n after nine years, he's definitely\n coming home with a message.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "(BEAT)\n Dad?\n After shutting the door behind himself he' crosses to the", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "kind of forgot about'em. Then one\n day the phone rang and it was\n Titembay and he was at the dry\n cleaners around the corner and he", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "(SLIGHT ACCENT)\n okay, Andrew. I'm going to need you\n to fill out this paperwork for me,\n and we'll call you when we're ready\n for you.", "in. So he sent me to boarding\n school. And I haven't been home\n since." ], [ "JESSE\n Well you knew I was an inventor\n right?\n\n LARGE\n No. But I haven't seen you since we", "JESSE (CONT'D)\n Welcome home.", "JESSE\n Well then here. Eat this.\n Jesse opens his palm to reveal a tiny hit of E with a SMILEY\n FACE on it.", "SAM\n Maybe.\n\n INT. JESSE'S MANSION: LIVING ROOM -- LATER", "JESSE\n To be honest, I never really knew\n either. I mean I heard stories.\n\n LARGE\n You wanna know?\n\n SAM\n Yeah.", "JESSE\n Nothing.\n They laugh.\n\n LARGE\n Seriously.", "JESSE\n Its keeping us warm.\n\n MARK\n Silent Velcro. Lucky motherfucker.\n I got an idea: loud tape, we'll\n make millions.", "JESSE\n Basically, \"The Man bought my\n silent Velcro patent.\n\n LARGE\n What?", "MARK\n I don't need your money, I'm making\n my own right now.\n\n LARGE\n Or fuck, take Jesse's - the guys a\n millionaire.", "JESSE\n 'Kay ready?\n He unleashes the arrow into the air and the three of them", "LARGE\n Liar.\n The light changes and they drive off.\n\n EXT. JESSE'S MANSION'S FRONT YARD - DAY", "JESSE\n Oh well yeah... I wasn't really an\n inventor yet. Anyway I developed\n this little item that's just like\n Velcro but doesn't make that\n annoying Velcro noise.", "JESSE\n All he heard of that whole story\n was \"left drugs in LA\".\n\n MARK\n Fuck you.", "JESSE\n Sorry... you know... I heard.\n\n LARGE\n Oh, thanks... yeah - thanks.\n\n JESSE\n That's fucked up.", "The poorly maintained backyard of a mansion: pools,\n fountains. Jesse stands shirtless and unshaven holding an", "SAM\n But obviously something happened. I\n mean there must have been an event.\n\n JESSE\n You're like a little detective.", "LARGE\n now much did they buy it for?\n\n JESSE\n A lot.\n\n LARGE\n Wow. So what are you doing now?", "JESSE\n They're all legal. I think.\n He smiles a toothy grin. KELLY, a young hot girl with a raspy\n voice takes control.", "JESSE\n Largeman, this is Dana.\n Large looks over to the sexy young girl whom he locked eyes\n with before. She smiles at him. Awkwardness fills the room.", "JESSE\n This is gonna be a good night.\n Everything SPEEDS-UP and SLOWS DOWN. A barrage of images:" ], [ "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "HIS BYES bounce back and forth under their lids as he dreams\n like they're chasing each other in a game of tag.\n THE PHONE is finally answered by the machine. Large's eyes\n stop moving.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "the beverage cart slides down the aisle, Andrew Largeman sits\n peacefully; unaffected.", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "kind of forgot about'em. Then one\n day the phone rang and it was\n Titembay and he was at the dry\n cleaners around the corner and he", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "Large appears to stare directly at us. He's dazed. His body\n is there, but his mind seems absent. He reaches to the middle", "They elide slowly left, then back right as if scanning in\n data. He blinks. He blinks again slowly. His eyelids float\n closed. He falls back to sleep.\n\n FADE TO BLACK-'", "94\n (Yes, that really happens.) As he looks at Mark, Sam and\n Large, his forehead is filled with the image of a BUSINESS\n MAN brushing his teeth. Mark leans into his ear.", "A NOISE in the kitchen pops Large' s eyes open. He has no idea\n where he is.\n Large's POV into the kitchen reveals limited glimpses of a", "Large crosses to the tub and tries to tighten the faucet to\n stop it from dripping. It continues to DRIP. He stares at the\n empty tub.", "A SERIES OF DISSOLVES: of Large as he lies awake in different\n positions staring at the ceiling; processing. S am turns to\n him.", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST" ], [ "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "117\n Gideon looks up; lost. His face is covered with tears. He\n reaches down to the phone and dials 911.\n\n GIDEON\n I need an ambulance.", "kind of forgot about'em. Then one\n day the phone rang and it was\n Titembay and he was at the dry\n cleaners around the corner and he", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "(BEAT)\n Yeah, I uh... I haven't even really\n told you that yet, but uh... yeah\n my Mom just died.\n Sam stops digging and stares at him.", "MARK\n No bitch, he's in LA now. He's a\n writer. He's writin' a movie about", "3\n After a moment he looks to his right through a window into a\n gym where a man on a Stairmaster is walking alongside him.\n Large registers something: he isn't going anywhere.", "MARK (CONT'D)\n You want to see the most fucked up\n thing?\n They arrive at the landing outside a door with a \"New Jersey\n Devils\" poster on it.", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "HIS BYES bounce back and forth under their lids as he dreams\n like they're chasing each other in a game of tag.\n THE PHONE is finally answered by the machine. Large's eyes\n stop moving.", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "LARGE\n Oh. I think I'll probably head home\n the day after tomorrow. well, LA.\n That's not my home.\n Rer smile fades." ], [ "MARK\n Yeah, he lives up on the hill.\n We're probably gonna head over\n there right after we bury your mom.\n\n DAVE\n Well I gotta shower.", "MARK\n You see this?\n\n LARGE\n in that him?\n\n MARK\n That was him. Dug the hole myself.", "DAVE\n Who?\n\n MARK\n What?", "TIM\n He only chipped one tooth. So what\n are you up to now, Mark, digging\n graves?\n Silence. A SPOON CLANKS on a plate.", "9\n\n DAVE\n Which cousin?\n\n MARK\n Terry.", "MARK (O. S.)\n Vagina!\n\n LARGE\n Oh, no.\n Mark, Dave and Jesse appear with some others.", "MARK\n I do apply myself, Mom; everyday, I\n work my ass off burying dead", "MARK\n i don't take anybody's money,\n Andrew. I make my own. Favors are\n bad news. And the only thing worse\n than a favor, is a favor involving\n money.", "They walk through the crowd as Mark recruits cute girls to\n join them upstairs. They walk up the stairs past family\n pictures and school photos made crooked by drunken backs.\n Mark points to a photo of an awkward looking young man.", "MARK\n It's a surprise, you'll see.\n Mark walks on ahead of them down a path that winds down\n alongside the abyss.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "Mark stands in the open grave STEALING VALUABLES FROM AN OPEN\n COFFIN. A small PILE OF JEWELRY sits beside the grave.", "A giant rusted yellow tractor sits parked by an open grave-\n Large and Jesse lean against opposite tombstones facing each\n other.", "MARK\n It's hardly the bottom, dude. Did\n you see that cliff?\n Albert returns with FAYE, an equally gentle and caring\n looking woman in her early thirties.", "Silence. Large stares at Mark in disbelief, then starts to\n LAUGH. They all start to join him except Mark. They stop\n laughing.", "SAM\n Until now.\n\n MARK\n For her funeral.", "SAM\n What should we do?\n\n LARGE\n Well IIve only been to one of these\n things,\n (re: the other graves)\n you appear to be the expert.", "ruder than talking about someone\n else who died while you're in the\n act of burying a close friend.\n Sam places the box in the hole she's dug.", "DIEGO\n No offense.\n\n (TO MARK)\n Why are you bringing these people\n here?", "MARK (CONT`D)\n This is the tucked up thing.\n Be swings the door to the bedroom open revealing the dark" ], [ "MARK\n Yeah, he lives up on the hill.\n We're probably gonna head over\n there right after we bury your mom.\n\n DAVE\n Well I gotta shower.", "They walk through the crowd as Mark recruits cute girls to\n join them upstairs. They walk up the stairs past family\n pictures and school photos made crooked by drunken backs.\n Mark points to a photo of an awkward looking young man.", "DAVE\n You should come out with us, we're\n gonna head over to the Gleason's\n house. He's having some huge\n fuckin' party tonight or something.", "DAVE\n Who?\n\n MARK\n What?", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "SAM\n Until now.\n\n MARK\n For her funeral.", "They arrive at a locked door. Mark knocks.\n After a beat it's opened by an Asian teenager with bad acne", "9\n\n DAVE\n Which cousin?\n\n MARK\n Terry.", "MARK (O. S.)\n Vagina!\n\n LARGE\n Oh, no.\n Mark, Dave and Jesse appear with some others.", "MARK (CONT'D)\n You want to see the most fucked up\n thing?\n They arrive at the landing outside a door with a \"New Jersey\n Devils\" poster on it.", "MARK (CONT`D)\n This is the tucked up thing.\n Be swings the door to the bedroom open revealing the dark", "MARK\n Nice. Let's get fucked up.\n Off Large's smile we:\n\n DISSOLVE TO:", "Mark, Sam and Large enter the tacky lobby. Mark carries the\n gym bag.\n Large and Sam follow Mark down a corridor and into a vending", "MARK\n\n YEAH_\n\n ALBERT\n Diego told me when he called.\n Please have a seat, make yourselves\n comfortable.", "Silence. Large stares at Mark in disbelief, then starts to\n LAUGH. They all start to join him except Mark. They stop\n laughing.", "MARK\n You see this?\n\n LARGE\n in that him?\n\n MARK\n That was him. Dug the hole myself.", "MARK\n It's a surprise, you'll see.\n Mark walks on ahead of them down a path that winds down\n alongside the abyss.", "LARGE\n I think I'm gonna meet Mark and\n Dave over at some party.\n\n KENNY\n The Gleasons?", "MARK (CONT'D)\n Check that out.\n Mark points to a hole in the ceiling where a ceiling fan has\n been ripped out. Wires dangle. The fan lies next to the bed.", "They are all pretty tipsy. Mark plays with a \"Silent Velcro\"\n sample." ], [ "JESSE\n Well you knew I was an inventor\n right?\n\n LARGE\n No. But I haven't seen you since we", "JESSE\n Well then here. Eat this.\n Jesse opens his palm to reveal a tiny hit of E with a SMILEY\n FACE on it.", "SAM\n Maybe.\n\n INT. JESSE'S MANSION: LIVING ROOM -- LATER", "JESSE\n All he heard of that whole story\n was \"left drugs in LA\".\n\n MARK\n Fuck you.", "JESSE (CONT'D)\n Welcome home.", "JESSE\n Nothing.\n They laugh.\n\n LARGE\n Seriously.", "JESSE\n Basically, \"The Man bought my\n silent Velcro patent.\n\n LARGE\n What?", "JESSE\n To be honest, I never really knew\n either. I mean I heard stories.\n\n LARGE\n You wanna know?\n\n SAM\n Yeah.", "JESSE\n Sorry... you know... I heard.\n\n LARGE\n Oh, thanks... yeah - thanks.\n\n JESSE\n That's fucked up.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "JESSE\n 'Kay ready?\n He unleashes the arrow into the air and the three of them", "MARK\n I don't need your money, I'm making\n my own right now.\n\n LARGE\n Or fuck, take Jesse's - the guys a\n millionaire.", "JESSE\n Largeman, this is Dana.\n Large looks over to the sexy young girl whom he locked eyes\n with before. She smiles at him. Awkwardness fills the room.", "JESSE\n Hey.\n\n DAVE\n T'sup.", "JESSE\n Its keeping us warm.\n\n MARK\n Silent Velcro. Lucky motherfucker.\n I got an idea: loud tape, we'll\n make millions.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "MARK\n i don't take anybody's money,\n Andrew. I make my own. Favors are\n bad news. And the only thing worse\n than a favor, is a favor involving\n money.", "LARGE\n Liar.\n The light changes and they drive off.\n\n EXT. JESSE'S MANSION'S FRONT YARD - DAY", "SAM\n But obviously something happened. I\n mean there must have been an event.\n\n JESSE\n You're like a little detective.", "JESSE\n They're all legal. I think.\n He smiles a toothy grin. KELLY, a young hot girl with a raspy\n voice takes control." ], [ "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "RECEPTIONIST\n Don't worry Sam, we'll get to you\n next.\n Large turns to Sam. She looks away.\n\n INT. NEUROLOGIST'S OFFICE - DAY", "SAM\n Come on in.\n They walk into the LIVING ROOM.\n\n INT. LIVING ROOM -- CONTINUOUS", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "SAM\n Why not? I'm curious. She's sitting\n here, across from you and you can\n say anything at all. All the things\n you never got a chance to say.", "A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She\n breaks the moment by pulling a small tattered piece of satin\n fabric off the bed.", "SAM\n Oh, I've done that one before.\n She bursts out laughing. He smiles.\n SAM (CONT ' t3 )", "She kisses Sam on the cheek and then she's gone.\n They stand there a moment to catch their breath. Then they\n both start laughing.", "(BEAT)\n And I like you.\n Sam smiles and looks away. A beat of silence. She tries to", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "good on that show. Now I'm really\n ashamed. Look at this place. And\n I'm wearing sweat pants.\n (to Sam, through her", "SAM\n Titembay, this is my friend,\n Andrew. Andrew this is my brother,\n Titembay.\n\n LARGE\n Hi, nice to meet you.", "And I didn't feel safe very often,\n but at that moment...\n Tears are now streaming down his face as well as Sam's. She", "SAM\n Yeah, it's weird, huh? You're so\n freaked out right now, you're like\n running for the door. You can go,\n don't feel bad.", "Large drives out of the parking lot. There, seated at the bus\n stop is Sam bobbing her head to music- She wears a backpack\n and holds an odd looking helmet in her hand.\n He pulls up alongside her.", "SAM\n Waiting for a friend. You?\n\n LARGE\n I'm uh... there's a_.." ], [ "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "I'd never know it, because as far\n back as I can remember I've been\n medicated. I grew up on it. I left", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "DOCTOR\n I'm Doctor Cohen. What can we do\n for you today, Andrew?", "had. Has he got you on Lithium\n yet? Wait till he does, you'll love\n him even more.\n He stands.", "LARGE\n Well I was nine. They sent me to\n therapy and my Father put me on\n these drugs that were supposed to", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "LARGE\n Hi, I'm Andrew bargeman. I'm sorry.\n i'mn a little late for my\n appointment.\n She looks at her watch.\n\n RECEPTIONIST", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "GIRL HOOKING UP\n Is that Andrew Largeman?\n\n LARGE\n (squinting to see)\n Yeah, who's that?", "DOCTOR\n Well with all the Lithium he's had\n you on it's amazing you can even\n hear me right now_\n\n LARGE\n Oh, right." ], [ "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "(BEAT)\n Yeah, I uh... I haven't even really\n told you that yet, but uh... yeah\n my Mom just died.\n Sam stops digging and stares at him.", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "SAM (CONT'D)\n Look at me.\n\n (BEAT)\n Look at me.\n He does. And we see a vulnerable, lonely, little boy.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "SAM\n Mom.\n\n \n\n \n\n \n\n \n\n €¢", "€¢ 1\n\n OLIVIA\n Okay get out of here. Wait, Give me\n a hug.\n Sam crosses to her mom. They hug.", "OLIVIA\n Andrew would you like to see Sam's\n ice skating tape?\n\n SAM\n Mom, no.\n\n LARGE\n Absolutely.", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "SAM\n Mom. I'm asking you seriously.\n\n LARGE\n Don't be shy. Just let me see it.", "And I didn't feel safe very often,\n but at that moment...\n Tears are now streaming down his face as well as Sam's. She", "A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She\n breaks the moment by pulling a small tattered piece of satin\n fabric off the bed.", "SAM (CONT'D)\n What do you feel? Describe it. That\n always helps me. My mom always", "SAM\n Titembay, this is my friend,\n Andrew. Andrew this is my brother,\n Titembay.\n\n LARGE\n Hi, nice to meet you.", "SAM (CONT'D)\n (in a whisper)\n Let go. Listen to me. Just don't", "good on that show. Now I'm really\n ashamed. Look at this place. And\n I'm wearing sweat pants.\n (to Sam, through her", "SAM\n Oh, I've done that one before.\n She bursts out laughing. He smiles.\n SAM (CONT ' t3 )", "SAM\n Down, Kevin! Mom! Kick their balls!\n Kick their balls! Anthrax, heel!\n Mom!", "SAM\n Come on in.\n They walk into the LIVING ROOM.\n\n INT. LIVING ROOM -- CONTINUOUS" ], [ "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "is why you're so angry at me. All I\n ever wanted was for everybody to be\n happy again, Andrew. That's all I\n ever wanted.", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "LARGE\n I'm just saying did they check? I\n mean has someone ruled that out?\n\n GIDEON\n No. Because they know she drowned,\n Andrew.", "OLIVIA\n Andrew come sit down here next to\n me.\n Large sits next to Olivia on the couch between snoring\n Dobermans. He places his glass of water on the table. Sam\n stands in the doorway.", "And I didn't feel safe very often,\n but at that moment...\n Tears are now streaming down his face as well as Sam's. She", "(SOFTLY)\n Youknow, Andrew, the hour will\n comeone day when you atop avoiding\n allthe people that love you.And", "But needless to say, she drowned.\n And so... that's how she died.\n Sam is speechless. Tears well in her eyes.", "RECEPTIONIST\n Andrew Largeman?\n\n LARGE\n Yes.\n\n RECEPTIONIST\n We're ready for you.", "(BEAT)\n Yeah, I uh... I haven't even really\n told you that yet, but uh... yeah\n my Mom just died.\n Sam stops digging and stares at him.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery", "And one day... I was nine years old\n and I just really hated, her for\n that, and I pushed her.", "even as a very little kid, \"Wow.\n This is love.\"\n More tears start to well and overflow from his eyes. He tries", "HIS FINGERS as they slide down off the bathroom door frame.\n He backs away slowly to the bed and site down; staring\n blankly at the bathroom door. And then he starts to SOB.", "happened. Why would you ever want\n to think that?\n Large moves closer to his father who SOBS with his head in\n his lap and his arms over his head. It takes everything Large", "DOCTOR\n Mr. Andrew Largeman.\n\n LARGE\n Yes - hi.", "OLIVIA (CONT'D)\n It was so nice to meet you...\n Andrew right?\n\n LARGE\n Yes.", "VOICE (0.S.)\n Andrew Largeman?\n They turn. KARL BENSON, greasy hair wearing a wrinkled, red", "(HE LAUGHS)\n And she just handed me her sleeve\n and told me to just blow my nose\n into it. And I remember thinking,", "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM" ], [ "SAM\n You didn't. I'm Sam.\n\n LARGE\n Andrew.\n\n SAM", "SAM (CONT'D)\n What is it?\n He looks away. Soared.\n\n SAM (CONT'D)\n Look at me.\n He does.", "SAM (CONT'D)\n (in a whisper)\n Let go. Listen to me. Just don't", "She kisses Sam on the cheek and then she's gone.\n They stand there a moment to catch their breath. Then they\n both start laughing.", "SAM\n Wow. well that's pretty damn random\n of ya, Andrew.\n\n LARGE\n I know.", "And I didn't feel safe very often,\n but at that moment...\n Tears are now streaming down his face as well as Sam's. She", "SAM\n Mom, this is .Andrew...\n\n OLIVIA\n Welcome, welcome. The place is a\n wreck, I'm so sorry. You look very\n familiar.", "SAM\n Titembay, this is my friend,\n Andrew. Andrew this is my brother,\n Titembay.\n\n LARGE\n Hi, nice to meet you.", "DISSOLVE TO,\n\n INT. NEWARK AIRPORT STAIRCASE -- MORNING\n\n Large sits next to Sam on a staircase between two escalators.", "died last night, Andrew. She uhh...\n I'm sorry. I'm so sorry. But she\n uh... she drowned... last night she", "ALBERT\n Good-bye.\n Albert stands with his arm around Faye in their warm doorway.\n As the three of them climb down the ladder and head up the\n path. Large turns back' around.", "SAM (CONT'D)\n Look at me.\n\n (BEAT)\n Look at me.\n He does. And we see a vulnerable, lonely, little boy.", "98\n\n SAM\n He was protecting me.\n\n LARGE\n So.", "SAM\n Just let it all go.\n He cries with his elbow over his eyes.", "SAM\n I know. But that... that is life.\n if nothing else...\n (pointing to his chest)", "SAM\n Oh, I've done that one before.\n She bursts out laughing. He smiles.\n SAM (CONT ' t3 )", "MARK\n Got it, let's go.\n\n SAM\n Nice to meet you.\n\n CYNTHIA\n You too.\n Sam leaves them alone.", "€¢ 1\n\n OLIVIA\n Okay get out of here. Wait, Give me\n a hug.\n Sam crosses to her mom. They hug.", "SAM\n Yeah, it's weird, huh? You're so\n freaked out right now, you're like\n running for the door. You can go,\n don't feel bad.", "ANDREW LARGEMAN (LARGE), 25, is the only passenger who\n remains unfazed. Even as the flames from the wing echo fiery" ] ]

[ "What do Mark and Dave do for a living?", "Why does Andrew's father get Andrew a doctor's appointment?", "Who does Andrew meet in the doctor's waiting room?", "What medical condition does Sam have?", "Why does Andrew's father blame him for Andrew's mother's paralysis?", "Why did Andrew's psychiatrist father prescibe Andrew mood stablizers and anti-depressants his entire adult life?", "What reason does Albert give for living and working at the quarry?", "What is the gift that Mark gives Andrew?", "What does Andrew do at the airport at the end of the story?", "Who originally put Andrew on medication?", "What caused Andrew's mother to become a paraplegic?", "Who was a pathological liar?", "Why does Andrew go to the doctor?", "What happened after Andrew did drugs at the party?", "Who was stealing jewelry from the corpses?", "When Andrew is telling sam about his mother's death, who does she begin a eulogy for?", "Why did Andrew's father put him on medications?", "What did the message say from Andrew's father?", "What did Jesse make that created his fortune?", "What is Andrew dreaming about in the begining of the story?", "What is the news that made Andrew fly from Los Angeles to his home in New Jersey?", "Who are the grave-diggers Mark and Dave to Andrew?", "Where did Mark and Dave invite Andrew to the night of the funeral?", "How did Andrew's friend Jesse create a fortune?", "What is the condition that Sam admits having in the waiting room when Andrew and her meet?", "Who put Andrew under medication for his entire adult life?", "What is Sam's condition that is revealed to Andrew by Sam's mom?", "Who did Andrew open up to about having pushed his mother as a boy and unfortunately leaving her paraplegic?", "What did Sam do when Andrew was saying his goodbyes at the airport?" ]

[ [ "They dig graves.", "dig graves" ], [ "Because Andrew has been having headaches.", "He gets him an appointment for his headaches" ], [ "Sam", "Sam" ], [ "Sam has epilepsy.", "Epilepsy and a pathological liar" ], [ "Because Andrew's mother became paralzyed when he, as a child, pushed her over a broken dishwasher in a fit of frustration.", "He pushed his mother." ], [ "Because he wanted to help control Andrew's \"anger issues\".", "To curb the supposed anger he had" ], [ "He says that it is \"unique, and has never been done before.\" ", "doing something unique" ], [ "Andrew's mother's favorite pendant.", " a pendant" ], [ "Andrew gets off the plane and goes back to Sam. ", "Kisses Sam" ], [ "Andrew's father put him on medications", "His father." ], [ "Andrew got angry and pushed her over a broken dishwasher.", "Andrew pushed her into a washing machine" ], [ "Sam was a pathological liar.", "Sam" ], [ "Because he keeps having headaches.", "Andrew goes to the doctor for headaches he had been having." ], [ "Nothing. He remained detached.", "He remains detached" ], [ "Mark was stealing jewelry from the corpses.", "Mark." ], [ "Her hamster.", "her hamster" ], [ "To 'curb his anger'", "His father wanted to curb Andrew's anger." ], [ "To come home because his mother has died.", "That Andrew's mother had died" ], [ "Silent velcro.", "silent velcro" ], [ "He is dreaming about sitting apathetically on a crashing plane.", "Sitting on a plane about to crash" ], [ "His mother death.", "his mother died " ], [ "They are old friends.", "Old friends" ], [ "To a party.", "a party" ], [ "By creating silent Velcro.", "He created silent velcro" ], [ "She admits to being a pathological liar.", "She's a pathological liar." ], [ "His father.", "his father" ], [ "Epilepsy.", "Epilepsy" ], [ "Sam.", "Sam" ], [ "She beged him not to leave.", "She begs him not to leave" ] ]

[ [ "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "\"Yes, she knows,\" he returned. \"Jennie and George just came up\nwhere I was and told me. I didn't know anything about it until just\nnow,\" and he began to cry again.", "Curiously, now, as he thought, his first meeting with Jennie at\nMrs. Bracebridge's came back to him. What was it about her then that", "At Bass's suggestion Jennie wrote her mother to come at once, and a\nweek or so later a suitable house was found and rented. Mrs. Gerhardt,", "During this period Jennie received her earliest lesson in the\nvagaries of men. For two weeks she did not even see him, and one", "In the meantime Jennie was going her way, settling herself in the\nmarkedly different world in which henceforth she was to move. It", "deliberation had studied out a tour. He made Jennie his confidante,\nand now, having gathered together their traveling comforts they took a\nsteamer from New York to Liverpool. After a few weeks in the British", "On the fourth evening Brander came, and inquiring for Jennie, who was\nexceedingly nervous, he took her out for a walk. She was afraid of her", "Jennie came forward, extending her hand and blushing. She found\nherself so much disturbed by this visit that she could hardly find\ntongue to answer his questions.", "But fortune had another fling for him to endure. It got about the\nhotel that Jennie was, to use the mildest expression, conducting", "As for Jennie, he drew nearer to her in every possible way, so that\nat last she came to see him in a light which would require", "\"Some one ought to go up and tell your father,\" she said. \"He may\nbe in jail.\"\n\nJennie volunteered, but George, who was soundly sleeping, was\nawakened to go along with her.", "plane and within the circle of his own associates, he had met no one\nwho appealed to him as did Jennie. She was gentle, intelligent,", "He arose, and opening wide his door, perceived Jennie. She had\ncome, as she had suggested to her mother, at this time, instead of on\nMonday, in order to give a more favorable impression of\npromptness.", "Bass met Jennie at the depot in Cleveland and talked hopefully of\nthe prospects. \"The first thing is to get work,\" he began, while the", "never met. Robert had thought of his brother often. He had followed\nhis success since he had left Jennie with interest. He read of his\nmarriage to Mrs. Gerald with pleasure; he had always considered her an", "\"Come over here, Jennie,\" he said, \"and stand by me.\"\n\nShe came, and, moved by a sudden impulse, he took her hand.", "Jennie the ordinary formalities of social intercourse, so that when\nthe first visitor called Jennie might be prepared to receive her.\nWithin a fortnight this first visitor arrived in the person of Mrs.", "rather favorably with Jennie. She talked with her a little while, and\nfinally decided to try her in the general capacity of maid.", "He called a carriage and rode out to Jennie's residence. He found\nher watering some plants; her face expressed her surprise at his\nunusual presence." ], [ "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "Jennie, who until now had borne his questions with unmoving pain,\nwinced at this. He was now encroaching upon the period that was by far", "her during the last few years! She understood her mother. She was\nbeginning to realize clearly what her life had been. And Jennie,\nthrough her, had grown to a broad understanding of responsibility. She", "years, and then longer only on condition that he married Jennie! \"Ten\nthousand a year,\" he thought, \"and that for three years! Good Lord!", "of what was happening, but kept silent. She too had seen the report in\nthe newspaper. When the first and second day after had passed Jennie\nwas much calmer mentally, for now she was face to face with the", "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "During this period Jennie received her earliest lesson in the\nvagaries of men. For two weeks she did not even see him, and one", "one told her that he had sent for Jennie. The Kane family did not\nknow.", "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "\"She's here,\" returned the mother. \"I'll call her.\"\n\n\"What did you tell him I was here for?\" said Jennie, weakly.\n\n\"What could I do?\" asked the mother.", "not come to Cleveland. The two women explained to Gerhardt that Jennie\nwas going away to be married to Mr. Kane. Gerhardt flared up at this,", "\"I am,\" said Jennie frankly.\n\n\"I don't know whether we had better tell your father or not,\"\nconcluded Mrs. Gerhardt. \"He doesn't like for you to be out\nevenings.\"", "planned for the future until nine o'clock came, when all but Jennie\nand her mother retired. These two talked on, the burden of\nresponsibilities resting on the daughter. Mrs. Gerhardt had come to", "During the three years in which Jennie and Lester had been\nassociated there had grown up between them a strong feeling of mutual", "the Kanes, of Jennie's history on the North Side, and of the attitude\nof the Kane family. She was a thin, vigorous, intellectual woman,", "The arrival of this letter, coming after a week of silence and\nafter she had had a chance to think, moved Jennie deeply. What did she", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "\"Is this your daughter?\" he continued, with a smile at Jennie.\n\n\"Yes, sir,\" said the mother; \"she's my oldest girl.\"\n\n\"Is your husband alive?\"", "Mother and daughter paused. Jennie had already begun to think that\ntheir error was serious.\n\n\"I didn't keep anything from you because it was evil,\" she said.\n\"Why, he only took me out riding once.\"", "\"Now, you just go to your room and lie down, Mrs. Kane,\" she would\nsay to Jennie when she found her watching helplessly at the bedside or" ], [ "live with George. He himself had a good place in a factory, and would\nlive there a little while. He returned her a moderate sum that he had\nsaved--one hundred and fifteen dollars--with the word that", "suspicious. He had come to have a pretty keen knowledge of life, and\nintuitively he felt that things were not right. George, nineteen, who", "himself firmly in his clerkship in the cigar store. George was\npromoted to the noble sum of three dollars, and then three-fifty. It", "It ended one winter month when George agreed to receive his\ncomplaining brother and sister on condition that they should get\nsomething to do. Gerhardt was nonplussed for a moment, but invited", "coming; but, seeing he had no home, she thought it would be just as\nwell to go and find him. George and Veronica had not taken all the", "so suggestive of all that is worth begging of Providence. Without\nanother look he went dignifiedly upon his way, but the impression of\nher charming personality went with him. This was the Hon. George", "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "delight. Such beauty, such spaciousness! George rubbed his feet over\nthe new carpets and Bass examined the quality of the furniture", "danger was an immediate one. He went on to say that George was in\nRochester, working for a wholesale wall-paper house--the\nSheff-Jefferson Company, he thought. Martha and her husband had gone", "Lester saw that she needed companionship badly. \"Where is your\nbrother George?\" he asked.\n\n\"He's in Rochester, but he couldn't come. Bass said he was\nmarried,\" she added.", "\"Yes,\" she said, half believing her remark. \"Listen!\"\n\n\"Oho,\" exclaimed George, incredulously, \"I wonder what kind of\nhouses they live in.\"", "but had not as yet been trained to any special work. The other\nchildren, George, aged fourteen; Martha, twelve; William ten, and\nVeronica, eight, were too young to do anything, and only made the", "walked off when he got married, and did nothing more for anybody.\nMartha insisted that she needed all she made to live on. George had\ncontributed for a little while, but had finally refused to help out.", "\"A man run us away,\" was almost the first greeting that the\nperturbed George offered when the mother made her inquiry about the\ncoal. \"I got a little, though.\" he added. \"I threw it off a car.\"", "A little while after Martha's marriage Veronica and William went to\nreside with George, a break which was brought about by the attitude of", "They went back to the house, but George's conscience was too\ntroubled to allow him to consider the case as closed.\n\n\"Bass, you come, too,\" he called to his elder brother when he was\ninside.", "Sebastian fall and injure himself, it was she who struggled with\nstraining anxiety, carried him safely to his mother. Did George\ncomplain that he was hungry, she gave him all of her bread. Many were", "\"Oh, Bass won't go with me to get any coal?\"\n\n\"Didn't you get any this afternoon?\"\n\n\"Yes,\" said George, \"but ma says I didn't get enough.\"", "\"Aw, I did try,\" said George. \"We couldn't find enough. I can't get\nany when there ain't any, can I?\"\n\n\"I guess you didn't try very hard,\" said the dandy.", "need of anything, so long as the baby was properly taken care of.\nGeorge secured a place as an overgrown cash-boy, and brought in two" ], [ "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "\"Yes,\" said Jennie.\n\n\"You'll promise to do that now, will you?'\n\n\"Yes,\" she replied.\n\nFor a moment neither of them spoke.", "\"Indeed I shall,\" answered Jennie, a little nervously, for the\nordeal was a trying one. \"I appreciate your goodness in calling. Mr.", "happen to her. She was such a good girl. Oh!\" she concluded, \"to think\nhe should ruin Jennie.\"", "\"No,\" replied Jennie, with an effort to maintain her mental poise,\n\"but I'm going to leave it.\"\n\n\"No!\" exclaimed her mother. \"Why?\"", "Jennie, who had been moving about the dining-room beyond the\nsitting-room, heard the cutting references to herself. She winced with\npain.", "rid of Jennie. If he did that he would not need to be begging for\nstock. If he didn't, he was flying in the face of his father's last", "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "\"Oh,\" began Mrs. Gerhardt, visibly struggling with her fears, and\nmoved to make an end of it at any cost, \"Jennie is in trouble. I don't\nknow what to do. She--\"", "Jennie; he wanted to be alone with her. She would sit beside him quite\nstill and sew. She could see plainly that the end was only a little\nway off.", "\"Why,\" said Jennie, who saw clearly and knew what could be done,\n\"it will be all right. I wouldn't worry about it. Something will\nhappen. We'll get something.\"", "years, and then longer only on condition that he married Jennie! \"Ten\nthousand a year,\" he thought, \"and that for three years! Good Lord!", "effected. If Lester refused to marry Jennie, or to leave her, he was\nto have nothing at all after the three years were up. At Lester's", "Jennie begged him not to talk of it, but he would. One day at four\no'clock he had a sudden sinking spell, and at five he was dead. Jennie", "\"Everything she wants. Jennie is of a peculiar disposition. She\ndoesn't want much. She's retiring by nature and doesn't care for show.", "Jennie went to her room, but the very thought of repose was\ninsupportable. She had read in the paper, shortly after her father's", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "When Jennie came in her mother whispered, \"He is in the front\nroom.\"\n\nJennie paled, put her thumb to her lip and stood irresolute, not\nknowing how to meet the situation.", "Mrs. Davis seized Jennie firmly. \"There, there, you poor dear,\" she\nwhispered when she began to shake. \"It can't be helped. Don't\ncry.\"", "\"She's here,\" returned the mother. \"I'll call her.\"\n\n\"What did you tell him I was here for?\" said Jennie, weakly.\n\n\"What could I do?\" asked the mother." ], [ "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "\"Is this your daughter?\" he continued, with a smile at Jennie.\n\n\"Yes, sir,\" said the mother; \"she's my oldest girl.\"\n\n\"Is your husband alive?\"", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "Jennie, of all the children, fully understood her mother; she alone\nstrove, with the fullness of a perfect affection, to ease her\nburden.\n\n\"Ma, you let me do this.\"", "\"It isn't that. It's her,\" said Jennie passionately. \"I don't want\nher to be brought into it.\"\n\nHer mother shook her head. \"Where did you meet him?\" she\ninquired.", "\"Whose child is that?\" he questioned.\n\n\"It's Jennie's,\" said Mrs. Gerhardt, weakly.\n\n\"When did that come here?\"", "\"She's here,\" returned the mother. \"I'll call her.\"\n\n\"What did you tell him I was here for?\" said Jennie, weakly.\n\n\"What could I do?\" asked the mother.", "\"She's very well,\" said Jennie simply.\n\n\"And your little sister? Is she any better?\"\n\n\"The doctor thinks so,\" she replied.", "At this moment Jennie came in. She had heard the talking in the\nfront bedroom, where she slept with one of the children, but had not", "Jennie, who had been moving about the dining-room beyond the\nsitting-room, heard the cutting references to herself. She winced with\npain.", "When Jennie came her mother turned to her instinctively; here was\nher one stay.", "\"Yes,\" said Jennie.\n\n\"You'll promise to do that now, will you?'\n\n\"Yes,\" she replied.\n\nFor a moment neither of them spoke.", "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "Unnerved by this unexpected and terrible altercation, Jennie had\nbacked away to the door leading out into the dining-room, and her\nmother, seeing her, came forward.", "\"Oh,\" began Mrs. Gerhardt, visibly struggling with her fears, and\nmoved to make an end of it at any cost, \"Jennie is in trouble. I don't\nknow what to do. She--\"", "her during the last few years! She understood her mother. She was\nbeginning to realize clearly what her life had been. And Jennie,\nthrough her, had grown to a broad understanding of responsibility. She", "\"What's the matter, ma?\" asked Jennie as she opened the door and\nobserved her mother's face. \"What have you been crying about?\"\n\nMrs. Gerhardt looked at her, and then turned half away.", "Jennie came forward, extending her hand and blushing. She found\nherself so much disturbed by this visit that she could hardly find\ntongue to answer his questions.", "Mother and daughter paused. Jennie had already begun to think that\ntheir error was serious.\n\n\"I didn't keep anything from you because it was evil,\" she said.\n\"Why, he only took me out riding once.\"" ], [ "additional note telling him that Vesta was dead. He was truly grieved,\nfor his affection for the girl had been real. He was very sorry for", "to death herself, and hastily despatched a neighbor to say that Vesta\nwas very ill and Mrs. Kane was to come at once. This message,", "Vesta smiled back at him, and now that the ice was broken she\nchattered on unrestrainedly. One thing led to another, and at last", "Vesta,\" he said a little awkwardly. \"I never dreamed anything like\nthat could happen.\"", "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "Vesta would come and turn briskly around before him, saying,\n\"See.\"\n\n\"Yes. You're all right. Go on\"; and on she would go.", "Vesta went away leaving Jennie brooding over her words. The\nneighbors were talking. Her history was becoming common gossip. How\nhad they found out.", "When she reached the gate she fairly sped up the little walk and\ninto the house, where Vesta was lying pale, quiet, and weak, but", "Vesta and leaving, and I think it is really better that I should.\nLester, I ought to do it. You know when you met me we were very poor,", "telegram to Lester saying that Vesta was dead, but, being absent,\nthere was no response. The house was looked after with scrupulous care\nby others, for Jennie was incapable of attending to it herself. She", "The situation in regard to Vesta was really complicated. Owing to\nthe feeling that she was doing her daughter a great injustice, Jennie", "of the dining-room. Vesta had disappeared. Jennie came in a little\nwhile later and closed the door. She knew of nothing to say. Lester,", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "from it for months at a time; she had never even hinted at its\nexistence, and yet her affection for Vesta was obviously great. \"It's\nqueer,\" he said. \"She's a peculiar woman.\"", "explanation was to be made to Vesta. He liked her very much and wanted\nher \"life kept free of complications.", "It was a lame explanation, but it satisfied Vesta for the time\nbeing. \"I'll slap her if she tries to slap me,\" she persisted.", "appreciation of Vesta's fine character, became more and more drawn\ntoward her. Lester was gone, but at least she had Vesta. That prop", "\"Vesta is so delighted with herself to-day,\" she volunteered by way\nof diversion. \"She got such nice marks in school.\"\n\n\"That's good,\" he replied solemnly.", "telling him about Vesta--somehow it all pointed to the same\nthing. She had not been married at home. Gerhardt had never had sight\nof her marriage certificate. Since she was away she might have been", "There was nothing more that she could do for Vesta, and now the claims\nof the home that she had deserted began to reassert themselves, the\npromise to Lester and the need of being loyal to her duties unto the" ], [ "\"You and Mr. Kane, yes,\" replied her guest. \"Your love\nromance.\"\n\nJennie colored swiftly. \"Why, I hadn't seen it,\" she said. \"Are you\nsure it was about us?\"", "\"I don't quite understand,\" said Jennie. \"I don't know anything\nabout the will. If there's anything that I ought to know, I suppose\nMr. Kane will tell me. He hasn't told me anything as yet.\"", "the Kanes, of Jennie's history on the North Side, and of the attitude\nof the Kane family. She was a thin, vigorous, intellectual woman,", "not come to Cleveland. The two women explained to Gerhardt that Jennie\nwas going away to be married to Mr. Kane. Gerhardt flared up at this,", "world that she had inhabited before. Kane was no lover of vulgar\ndisplay. The appointments with which he surrounded himself were always\nsimple and elegant. He knew at a glance what Jennie needed, and bought", "one told her that he had sent for Jennie. The Kane family did not\nknow.", "\"Oh, Jennie!\" exclaimed her mother. \"Surely not! You wouldn't do\nanything like that after all that's happened. Think of your\nfather.\"", "breaking of his relationship with Jennie, a curious rejuvenation in\nthe social and business spirit of Lester Kane. He had become rather\ndistant and indifferent to certain personages and affairs while he was", "\"It isn't that. It's her,\" said Jennie passionately. \"I don't want\nher to be brought into it.\"\n\nHer mother shook her head. \"Where did you meet him?\" she\ninquired.", "\"Oh, yes indeed,\" replied Jennie. \"I know it well. Mr. Kane and I\nwere admiring it the first day we came out here.\"", "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "liberty to associate with anybody he pleased. Jennie might be any\nyoung woman of good family in whom he was interested. He did not\npropose to introduce her to anybody if he could help it, and he always", "\"So you were,\" he replied. \"I like Jennie very much. I have always\nenjoyed her coming here. It is my intention to do well by her, but\nperhaps it will be better to keep her away, at least for the\npresent.\"", "irritated him. The idea--he, Lester Kane, being made to do such a\nthing to throw Jennie down. He stared at the floor.", "all in her love of family prestige, the most desirous that the Kane\nfamily should outshine every other. She was proud to think that the\nfamily was so well placed socially, and carried herself with an air", "Kane on the door leading to the second floor. Ringing the bell, she\nwas opened to by Jennie, who was surprised to see so fashionably\nattired a young woman.", "\"You mustn't pay any attention to her, dearie,\" said Jennie at\nlast. \"She doesn't know. Your papa was Mr. Stover, and you were born", "\"No, no, no!\" she replied in an agonized voice, \"I can't do\nanything like that, Mr. Kane. Please listen to me. It can't be. You", "\"Now, you just go to your room and lie down, Mrs. Kane,\" she would\nsay to Jennie when she found her watching helplessly at the bedside or", "for her with discrimination and care. And Jennie, a woman, took a keen\npleasure in the handsome gowns and pretty fripperies that he lavished" ], [ "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "Vesta went away leaving Jennie brooding over her words. The\nneighbors were talking. Her history was becoming common gossip. How\nhad they found out.", "telegram to Lester saying that Vesta was dead, but, being absent,\nthere was no response. The house was looked after with scrupulous care\nby others, for Jennie was incapable of attending to it herself. She", "\"Yes,\" replied Vesta; \"but then she ain't got any nice things now.\nShe's just got old things.\" And Jennie, stricken to the heart, would", "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "The arrangements completed, Jennie returned at the first\nopportunity to Cleveland to take Vesta away. Gerhardt, who had been\nbrooding over his approaching loss, appeared most solicitous about her", "Jennie and her mother had talked over this very matter, and Jennie\nhad expressed a preference for Vesta. Now her mother made bold to\nsuggest it as her own choice.\n\n\"How would Vesta do?\"", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "Jennie, Vesta. He clasped his hands together, after his old-time\nfashion, and shook his head again and again. \"So it is! So it is!\" he", "After the funeral Jennie tried to think of her future. She fixed\nher mind on the need of doing something, even though she did not need", "of the dining-room. Vesta had disappeared. Jennie came in a little\nwhile later and closed the door. She knew of nothing to say. Lester,", "Jennie understood. She came up and looked at her daughter keenly.\nVesta's pale, waxen face told the story. She was breathing faintly,", "There was peace and quiet for some time after this storm. Jennie\nwent the next day and brought Vesta away with her. The joy of the", "humor about Vesta's doings, and so came to watch for its development.\nShe was forever doing something interesting, and although Jennie\nwatched over her with a care that was in itself a revelation to him,", "her opinion. Jennie hovered about, praying the only prayer that is\nprayer--the fervent desire of her heart concentrated on the one\nissue--that Vesta should get well. The child had come so close to", "separations and the silence she was obliged to maintain about Vesta's\nvery existence. It did seem unfair to the child, and yet Jennie did\nnot see clearly how she could have acted otherwise. Vesta had good", "The situation in regard to Vesta was really complicated. Owing to\nthe feeling that she was doing her daughter a great injustice, Jennie", "In the meantime Jennie was going her way, settling herself in the\nmarkedly different world in which henceforth she was to move. It", "An opening bolt of the coming storm fell upon Jennie one day when\nVesta, returning from school, suddenly asked: \"Mamma, who was my\npapa?\"", "Brander was gone, and Jennie's fate was really in the balance. But\nher mind still retained all of the heart-innocence, and" ], [ "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "\"Yes, she knows,\" he returned. \"Jennie and George just came up\nwhere I was and told me. I didn't know anything about it until just\nnow,\" and he began to cry again.", "In the meantime Jennie was going her way, settling herself in the\nmarkedly different world in which henceforth she was to move. It", "As construction work was soon to begin, Lester decided to move to\nChicago immediately. He sent word for Jennie to meet him, and together", "At Bass's suggestion Jennie wrote her mother to come at once, and a\nweek or so later a suitable house was found and rented. Mrs. Gerhardt,", "The carriage rolled briskly through the long streets into the smoky\ndown-town district. It arrived at the Auditorium, and Jennie was", "deliberation had studied out a tour. He made Jennie his confidante,\nand now, having gathered together their traveling comforts they took a\nsteamer from New York to Liverpool. After a few weeks in the British", "Bass met Jennie at the depot in Cleveland and talked hopefully of\nthe prospects. \"The first thing is to get work,\" he began, while the", "But fortune had another fling for him to endure. It got about the\nhotel that Jennie was, to use the mildest expression, conducting", "On the fourth evening Brander came, and inquiring for Jennie, who was\nexceedingly nervous, he took her out for a walk. She was afraid of her", "During this period Jennie received her earliest lesson in the\nvagaries of men. For two weeks she did not even see him, and one", "Curiously, now, as he thought, his first meeting with Jennie at\nMrs. Bracebridge's came back to him. What was it about her then that", "The little town of Sandwood, \"this side of Kenosha,\" as Jennie had\nexpressed it, was only a short distance from Chicago, an hour and", "A week or two later Jennie confided to her mother that Lester had\nwritten her to join him in Chicago. He was not feeling well, and could", "live with George. He himself had a good place in a factory, and would\nlive there a little while. He returned her a moderate sum that he had\nsaved--one hundred and fifteen dollars--with the word that", "He arose, and opening wide his door, perceived Jennie. She had\ncome, as she had suggested to her mother, at this time, instead of on\nMonday, in order to give a more favorable impression of\npromptness.", "younger children were entered at the public school, but it was decided\nthat George must find some employment. Both Jennie and her mother felt\nthe injustice of this keenly, but knew no way of preventing the", "\"Some one ought to go up and tell your father,\" she said. \"He may\nbe in jail.\"\n\nJennie volunteered, but George, who was soundly sleeping, was\nawakened to go along with her.", "trip. We are living in New York, you know. You're a little stouter,\nJennie.\"", "Jennie came forward, extending her hand and blushing. She found\nherself so much disturbed by this visit that she could hardly find\ntongue to answer his questions." ], [ "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "Jennie's daughter by her first marriage, her husband, a Mr. Stover\n(her mother's maiden name), having died immediately after the child's", "\"Is this your daughter?\" he continued, with a smile at Jennie.\n\n\"Yes, sir,\" said the mother; \"she's my oldest girl.\"\n\n\"Is your husband alive?\"", "\"Whose child is that?\" he questioned.\n\n\"It's Jennie's,\" said Mrs. Gerhardt, weakly.\n\n\"When did that come here?\"", "\"Yes,\" said Jennie.\n\n\"You'll promise to do that now, will you?'\n\n\"Yes,\" she replied.\n\nFor a moment neither of them spoke.", "\"It isn't that. It's her,\" said Jennie passionately. \"I don't want\nher to be brought into it.\"\n\nHer mother shook her head. \"Where did you meet him?\" she\ninquired.", "\"She's here,\" returned the mother. \"I'll call her.\"\n\n\"What did you tell him I was here for?\" said Jennie, weakly.\n\n\"What could I do?\" asked the mother.", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "\"She's very well,\" said Jennie simply.\n\n\"And your little sister? Is she any better?\"\n\n\"The doctor thinks so,\" she replied.", "Jennie lifted her head, her blue eyes wet with tears, and handed\nthe little one to her mother.\n\n\"I can't help it,\" she said, half crying, half smiling.", "Jennie; he wanted to be alone with her. She would sit beside him quite\nstill and sew. She could see plainly that the end was only a little\nway off.", "\"Oh, Jennie!\" exclaimed her mother. \"Surely not! You wouldn't do\nanything like that after all that's happened. Think of your\nfather.\"", "Mrs. Davis seized Jennie firmly. \"There, there, you poor dear,\" she\nwhispered when she began to shake. \"It can't be helped. Don't\ncry.\"", "At this moment Jennie came in. She had heard the talking in the\nfront bedroom, where she slept with one of the children, but had not", "who, having brought forth six herself, knew exactly what to do. There\nwas no difficulty, and at the first cry of the new-born infant there\nawakened in Jennie a tremendous yearning toward it. This was", "\"No,\" replied Jennie, with an effort to maintain her mental poise,\n\"but I'm going to leave it.\"\n\n\"No!\" exclaimed her mother. \"Why?\"", "\"Get the child and bring her here where you can take care of her.\nThere's no use leaving her in the hands of strangers.\"\n\n\"I will, Lester,\" said Jennie submissively. \"I always wanted\nto.\"", "Jennie went quietly to her room. She gathered up her few little\nbelongings and began, with tears, to put them into a valise her mother", "Jennie, of all the children, fully understood her mother; she alone\nstrove, with the fullness of a perfect affection, to ease her\nburden.\n\n\"Ma, you let me do this.\"" ], [ "live with George. He himself had a good place in a factory, and would\nlive there a little while. He returned her a moderate sum that he had\nsaved--one hundred and fifteen dollars--with the word that", "It ended one winter month when George agreed to receive his\ncomplaining brother and sister on condition that they should get\nsomething to do. Gerhardt was nonplussed for a moment, but invited", "They went back to the house, but George's conscience was too\ntroubled to allow him to consider the case as closed.\n\n\"Bass, you come, too,\" he called to his elder brother when he was\ninside.", "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "walked off when he got married, and did nothing more for anybody.\nMartha insisted that she needed all she made to live on. George had\ncontributed for a little while, but had finally refused to help out.", "Lester saw that she needed companionship badly. \"Where is your\nbrother George?\" he asked.\n\n\"He's in Rochester, but he couldn't come. Bass said he was\nmarried,\" she added.", "suspicious. He had come to have a pretty keen knowledge of life, and\nintuitively he felt that things were not right. George, nineteen, who", "\"Some one ought to go up and tell your father,\" she said. \"He may\nbe in jail.\"\n\nJennie volunteered, but George, who was soundly sleeping, was\nawakened to go along with her.", "\"A man run us away,\" was almost the first greeting that the\nperturbed George offered when the mother made her inquiry about the\ncoal. \"I got a little, though.\" he added. \"I threw it off a car.\"", "\"Did you go for the coal?\" asked Mrs. Gerhardt the first thing when\nshe returned from the hotel that evening.\n\n\"Yes,\" said George.\n\n\"Did you get enough for to-morrow?\"", "Sebastian fall and injure himself, it was she who struggled with\nstraining anxiety, carried him safely to his mother. Did George\ncomplain that he was hungry, she gave him all of her bread. Many were", "coming; but, seeing he had no home, she thought it would be just as\nwell to go and find him. George and Veronica had not taken all the", "danger was an immediate one. He went on to say that George was in\nRochester, working for a wholesale wall-paper house--the\nSheff-Jefferson Company, he thought. Martha and her husband had gone", "It was some little time before Bass, George and Martha finally\nleft, but, one by one, they got out, leaving Jennie, her father,", "himself firmly in his clerkship in the cigar store. George was\npromoted to the noble sum of three dollars, and then three-fifty. It", "A little while after Martha's marriage Veronica and William went to\nreside with George, a break which was brought about by the attitude of", "\"Aw, I did try,\" said George. \"We couldn't find enough. I can't get\nany when there ain't any, can I?\"\n\n\"I guess you didn't try very hard,\" said the dandy.", "earthly ambitions he had once cherished were gone forever. He saw\nSebastian, Martha, and George out in the world practically ignoring\nhim, contributing nothing at all to a home which should never have", "As she went down the street with George she looked back and bravely\nwaved her hand. Mrs. Gerhardt responded, noticing how much more like a", "When she reached home Mrs. Gerhardt had heard of her flight from\nthe other children.\n\n\"What was the matter with you, anyhow?\" asked George, when she came\nin." ], [ "breaking of his relationship with Jennie, a curious rejuvenation in\nthe social and business spirit of Lester Kane. He had become rather\ndistant and indifferent to certain personages and affairs while he was", "\"You and Mr. Kane, yes,\" replied her guest. \"Your love\nromance.\"\n\nJennie colored swiftly. \"Why, I hadn't seen it,\" she said. \"Are you\nsure it was about us?\"", "world that she had inhabited before. Kane was no lover of vulgar\ndisplay. The appointments with which he surrounded himself were always\nsimple and elegant. He knew at a glance what Jennie needed, and bought", "the Kanes, of Jennie's history on the North Side, and of the attitude\nof the Kane family. She was a thin, vigorous, intellectual woman,", "one told her that he had sent for Jennie. The Kane family did not\nknow.", "not come to Cleveland. The two women explained to Gerhardt that Jennie\nwas going away to be married to Mr. Kane. Gerhardt flared up at this,", "\"I don't quite understand,\" said Jennie. \"I don't know anything\nabout the will. If there's anything that I ought to know, I suppose\nMr. Kane will tell me. He hasn't told me anything as yet.\"", "During this period the dissatisfaction of the Kane family with\nLester's irregular habit of life grew steadily stronger. That it could", "irritated him. The idea--he, Lester Kane, being made to do such a\nthing to throw Jennie down. He stared at the floor.", "\"Oh, Jennie!\" exclaimed her mother. \"Surely not! You wouldn't do\nanything like that after all that's happened. Think of your\nfather.\"", "the last few years that Mr. Kane senior did not believe that the\nsituation could ever be nicely adjusted, so far as the family was\nconcerned. He felt that his son had not gone about it right in the", "\"Oh, yes indeed,\" replied Jennie. \"I know it well. Mr. Kane and I\nwere admiring it the first day we came out here.\"", "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "\"It isn't that. It's her,\" said Jennie passionately. \"I don't want\nher to be brought into it.\"\n\nHer mother shook her head. \"Where did you meet him?\" she\ninquired.", "relationship to Jennie was in the air, anyhow. He could best solve the\nproblem by leaving her. So it all came back to that.", "all in her love of family prestige, the most desirous that the Kane\nfamily should outshine every other. She was proud to think that the\nfamily was so well placed socially, and carried herself with an air", "liberty to associate with anybody he pleased. Jennie might be any\nyoung woman of good family in whom he was interested. He did not\npropose to introduce her to anybody if he could help it, and he always", "In the meantime Jennie had been going through a moral crisis of her\nown. For the first time in her life, aside from the family attitude,", "suspected immorality of Lester and Jennie in residing together as man\nand wife, the real grounds of the well-known objections of his family", "of Lester's relationship with Jennie was not that she was not worth\nwhile, but that conditions made it impolitic. On the other hand, union" ], [ "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "Jennie and her mother had talked over this very matter, and Jennie\nhad expressed a preference for Vesta. Now her mother made bold to\nsuggest it as her own choice.\n\n\"How would Vesta do?\"", "Vesta went away leaving Jennie brooding over her words. The\nneighbors were talking. Her history was becoming common gossip. How\nhad they found out.", "separations and the silence she was obliged to maintain about Vesta's\nvery existence. It did seem unfair to the child, and yet Jennie did\nnot see clearly how she could have acted otherwise. Vesta had good", "An opening bolt of the coming storm fell upon Jennie one day when\nVesta, returning from school, suddenly asked: \"Mamma, who was my\npapa?\"", "Jennie understood. She came up and looked at her daughter keenly.\nVesta's pale, waxen face told the story. She was breathing faintly,", "\"Yes,\" replied Vesta; \"but then she ain't got any nice things now.\nShe's just got old things.\" And Jennie, stricken to the heart, would", "to her for the ignominy of her birth and rearing. Jennie had been so\nhappy during the past few years to see Vesta growing into beautiful,", "Jennie, Vesta. He clasped his hands together, after his old-time\nfashion, and shook his head again and again. \"So it is! So it is!\" he", "abandoned as inadvisable. Later they agreed that business affairs made\nit necessary for him to travel and for Jennie to move. Later Vesta\ncould be told that Jennie had left him for any reason she chose to", "by another visitation--this time not quite so simple. Jennie had\ngiven Vesta her breakfast, and set her to amuse herself alone until\nLester should leave the house. Jennie was seated at the table, pouring", "to death herself, and hastily despatched a neighbor to say that Vesta\nwas very ill and Mrs. Kane was to come at once. This message,", "\"Yes, she knows,\" he returned. \"Jennie and George just came up\nwhere I was and told me. I didn't know anything about it until just\nnow,\" and he began to cry again.", "shaken. Vesta, with the unaccountable freakishness of children had\ndeliberately dropped it behind the divan, an action which Jennie did\nnot notice at the time. When she gathered up the various playthings", "her opinion. Jennie hovered about, praying the only prayer that is\nprayer--the fervent desire of her heart concentrated on the one\nissue--that Vesta should get well. The child had come so close to", "of the dining-room. Vesta had disappeared. Jennie came in a little\nwhile later and closed the door. She knew of nothing to say. Lester,", "Lester returned to his correspondence and Jennie fell to thinking\nof Vesta. It troubled her to realize that she was keeping this secret", "station, swept past before Jennie could say a word. Once inside Louise\nlooked about her inquiringly. She found herself in the sitting-room,\nwhich gave into the bedroom where Lester was lying. Vesta happened to", "\"You and Mr. Kane, yes,\" replied her guest. \"Your love\nromance.\"\n\nJennie colored swiftly. \"Why, I hadn't seen it,\" she said. \"Are you\nsure it was about us?\"" ], [ "dollars, perhaps more; also one-fourth of the other properties, which\nnow aggregate something like five hundred thousand dollars. I believe\nMr. Kane senior was really very anxious that his son should inherit", "this property. But owing to the conditions which\nyour--ah--which Mr. Kane's father made, Mr. Lester Kane\ncannot possibly obtain his share, except by complying with", "somehow. And while I hesitate very much to say so, I must tell you\nthat Mr. Kane senior stipulated in his will that unless,", "will there were certain conditions stipulated which affect you and Mr.\nKane very materially. These provisions are so important that I think\nyou ought to know about them--that is if Mr. Kane hasn't already", "Ordinarily, he would have inherited one-fourth of the Kane\nManufacturing Company, worth to-day in the neighborhood of a million", "\"Before Mr. Kane senior died,\" he went on, \"he indicated to\nyour--ah--to Mr. Lester Kane, that he felt this way. In his", "Mr. Kane, your--ah--Mr. Kane's father. You'll think it's\nrather curious, my coming to you, but under your husband's father's", "\"I don't quite understand,\" said Jennie. \"I don't know anything\nabout the will. If there's anything that I ought to know, I suppose\nMr. Kane will tell me. He hasn't told me anything as yet.\"", "\"This is Mr. Kane's apartment, I believe,\" began Louise,\ncondescendingly, as she looked in at the open door behind Jennie. She", "and of a refined luxury. Old Archibald Kane, the father, had amassed a\ntremendous fortune, not by grabbing and brow-beating and unfair", "\"I thought I'd have one more talk with you, Lester, on a subject\nthat's rather difficult for me to bring up,\" began the elder Kane.\n\"You know what I'm referring to?\"", "rightful share of the estate, then to inherit anything at\nall--the mere ten thousand a year I mentioned before--he\nmust--ah--he must pardon me, I seem a little brutal, but not", "reached and dealt with there. It would be a big advertisement for the\nhouse, a magnificent evidence of its standing and prosperity. Kane\nsenior and Lester immediately approved of this. Both saw its", "So this was how much his father really cared for him! Could it\nreally be so? He, Lester Kane, ten thousand a year, for only three", "condition that he should marry you.\" He paused again. \"I should add,\"\nhe went on, \"that under the will he was given three years in which to\nindicate his intentions. That time is now drawing to a close.\"", "his legitimate share of the Kane estate. Again, he might sell out the\nseventy-five thousand dollars' worth of moderate interest-bearing\nstocks, which now yielded him about five thousand, and try a practical", "the last few years that Mr. Kane senior did not believe that the\nsituation could ever be nicely adjusted, so far as the family was\nconcerned. He felt that his son had not gone about it right in the", "After Mrs. Kane's death and Louise's marriage, the father went to\nlive with Robert, for his three grandchildren afforded him his", "conditions which shall govern the distribution of the remainder of my\nproperty, to wit: One-fourth of the stock of the Kane Manufacturing\nCompany and one-fourth of the remainder of my various properties,", "effective way. If Lester was not going to pull himself together at\nthis stage of the game, when would he? Better leave his property to\nthose who would take care of it. Archibald Kane thought seriously of" ], [ "Mrs. Kane, the mother, was a quiet, refined woman, sixty years of\nage, who, having come up from comparative poverty with her husband,", "\"I am most delighted to hear you say that, Mrs.--Mrs. Kane,\"\nhe went on, using for the first time her improbable title as Lester's", "After Mrs. Kane's death and Louise's marriage, the father went to\nlive with Robert, for his three grandchildren afforded him his", "\"This is Mrs. Kane?\" he asked, with an interlocutory jerk of his\nhead.\n\n\"Yes,\" replied Jennie.", "not come to Cleveland. The two women explained to Gerhardt that Jennie\nwas going away to be married to Mr. Kane. Gerhardt flared up at this,", "\"You and Mr. Kane, yes,\" replied her guest. \"Your love\nromance.\"\n\nJennie colored swiftly. \"Why, I hadn't seen it,\" she said. \"Are you\nsure it was about us?\"", "\"She's charming,\" testified Mrs. Kane.\n\n\"What is this?\" asked Lester jocularly--\"a conspiracy? You\nknow I'm not strong on the matrimonial business.\"", "world that she had inhabited before. Kane was no lover of vulgar\ndisplay. The appointments with which he surrounded himself were always\nsimple and elegant. He knew at a glance what Jennie needed, and bought", "Kane is very busy as a rule, but when he is at home I am sure he would\nbe most pleased to meet you and your husband.\"", "\"No, no, no!\" she replied in an agonized voice, \"I can't do\nanything like that, Mr. Kane. Please listen to me. It can't be. You", "\"Why, Lester Kane,\" she exclaimed. \"How do you do! I am so glad.\nAnd this is Mrs. Kane? Charmed, I'm sure. It seems truly like a breath", "Kane. Mr. and Mrs. Lester Kane when resident in Chicago were the\noccupants of a handsome mansion on the Lake Shore Drive, where", "\"There is just one other point which I wish to make in this\nconnection, Mrs. Kane,\" he went on softly and easily. \"I see now that", "\"She hasn't lost any of that, I can tell you,\" replied Lester\nsignificantly. Mrs. Kane smiled and went on to speak of various family", "only Mrs. Kane that ever was, lying in his arms. He had held\nher so once. He had loved her. Yes, he had! There was a solid lump in", "The final ceremonies presented a peculiar commentary on the\nanomalies of existence. It was arranged with Mrs. Kane by wire that", "\"Please don't, Mr. Kane,\" she pleaded. \"Oh, please don't. I can't!\nI can't! You mustn't.\"\n\nBut he sealed her lips with his own.", "On Wednesday Mrs. Kane arrived. She was greatly distraught, for her\nlove, like Jennie's, was sincere. She left her room that night when", "wife, without hesitation. \"I may as well be very frank with you, and\nsay that I feared you might take this information in quite another\nspirit. Of course you know to begin with that the Kane family is very", "than this daily life with him--the places they would go, the\nthings they would see. Her first season in Chicago as Mrs. Lester Kane\nthe following winter was going to be something worth remembering. And" ], [ "to death herself, and hastily despatched a neighbor to say that Vesta\nwas very ill and Mrs. Kane was to come at once. This message,", "additional note telling him that Vesta was dead. He was truly grieved,\nfor his affection for the girl had been real. He was very sorry for", "Vesta smiled back at him, and now that the ice was broken she\nchattered on unrestrainedly. One thing led to another, and at last", "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "Vesta would come and turn briskly around before him, saying,\n\"See.\"\n\n\"Yes. You're all right. Go on\"; and on she would go.", "Vesta,\" he said a little awkwardly. \"I never dreamed anything like\nthat could happen.\"", "When she reached the gate she fairly sped up the little walk and\ninto the house, where Vesta was lying pale, quiet, and weak, but", "Vesta and leaving, and I think it is really better that I should.\nLester, I ought to do it. You know when you met me we were very poor,", "telegram to Lester saying that Vesta was dead, but, being absent,\nthere was no response. The house was looked after with scrupulous care\nby others, for Jennie was incapable of attending to it herself. She", "It was a lame explanation, but it satisfied Vesta for the time\nbeing. \"I'll slap her if she tries to slap me,\" she persisted.", "of the dining-room. Vesta had disappeared. Jennie came in a little\nwhile later and closed the door. She knew of nothing to say. Lester,", "Vesta went away leaving Jennie brooding over her words. The\nneighbors were talking. Her history was becoming common gossip. How\nhad they found out.", "\"Vesta is so delighted with herself to-day,\" she volunteered by way\nof diversion. \"She got such nice marks in school.\"\n\n\"That's good,\" he replied solemnly.", "from it for months at a time; she had never even hinted at its\nexistence, and yet her affection for Vesta was obviously great. \"It's\nqueer,\" he said. \"She's a peculiar woman.\"", "Jennie understood. She came up and looked at her daughter keenly.\nVesta's pale, waxen face told the story. She was breathing faintly,", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "The situation in regard to Vesta was really complicated. Owing to\nthe feeling that she was doing her daughter a great injustice, Jennie", "appreciation of Vesta's fine character, became more and more drawn\ntoward her. Lester was gone, but at least she had Vesta. That prop", "down at night after she had said her prayers, she came to be the chief\nsolace and comfort of his days. Without Vesta, Gerhardt would have\nfound his life hard indeed to bear.", "\"What is it, Vesta?\" she inquired, following her.\n\nBy this time, however, Vesta had reached the kitchen, secured a\nlittle broom, and returned, a droll determination lighting her\nface." ], [ "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "\"Get the child and bring her here where you can take care of her.\nThere's no use leaving her in the hands of strangers.\"\n\n\"I will, Lester,\" said Jennie submissively. \"I always wanted\nto.\"", "who, having brought forth six herself, knew exactly what to do. There\nwas no difficulty, and at the first cry of the new-born infant there\nawakened in Jennie a tremendous yearning toward it. This was", "At this moment Jennie came in. She had heard the talking in the\nfront bedroom, where she slept with one of the children, but had not", "Jennie, of all the children, fully understood her mother; she alone\nstrove, with the fullness of a perfect affection, to ease her\nburden.\n\n\"Ma, you let me do this.\"", "\"Why yes, sir,\" returned Jennie, stammering. She was too shamefaced\nto own that one of the children had been obliged to leave school for\nthe lack of shoes. The utterance of the falsehood troubled her.", "\"Can I come to live with you?\" was one of her simplest and most\nfrequently repeated questions. Jennie would reply that mamma could not", "\"Yes,\" said Jennie.\n\n\"You'll promise to do that now, will you?'\n\n\"Yes,\" she replied.\n\nFor a moment neither of them spoke.", "\"Whose child is that?\" he questioned.\n\n\"It's Jennie's,\" said Mrs. Gerhardt, weakly.\n\n\"When did that come here?\"", "\"I know,\" said Jennie weakly. \"I'm going to fix it now. I'm going\nto have her live with me soon. I won't neglect her--you know\nthat.\"", "At Bass's suggestion Jennie wrote her mother to come at once, and a\nweek or so later a suitable house was found and rented. Mrs. Gerhardt,", "Jennie, living on the South Side with her adopted child, Rose\nPerpetua, was of no fixed conclusion as to the meaning of life. She", "money upon her children, and heaved a sigh of relief. Martha looked\nvery much better. Naturally, Jennie was glad.", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "rather favorably with Jennie. She talked with her a little while, and\nfinally decided to try her in the general capacity of maid.", "Jennie went quietly to her room. She gathered up her few little\nbelongings and began, with tears, to put them into a valise her mother", "\"Indeed I shall,\" answered Jennie, a little nervously, for the\nordeal was a trying one. \"I appreciate your goodness in calling. Mr.", "Jennie was now going through the agony of one who has a varied and\ncomplicated problem to confront. Her baby, her father, her brothers," ], [ "watchman at the factory, who had been with Mr. Kane for over forty\nyears, had died. Her husband was going to the funeral. Lester listened\ndutifully, albeit a trifle absently.", "with mournful melody and the presence of death. She cried and cried.\nShe could see, curiously, that Mrs. Kane was sobbing convulsively\nalso.", "\"You needn't do that,\" he said, but she could see that he wanted\nher, that he did not want to be alone.\n\nFrom that time on until the hour of his death she was not out of\nthe hotel.", "\"Now, you just go to your room and lie down, Mrs. Kane,\" she would\nsay to Jennie when she found her watching helplessly at the bedside or", "After Mrs. Kane's death and Louise's marriage, the father went to\nlive with Robert, for his three grandchildren afforded him his", "to death herself, and hastily despatched a neighbor to say that Vesta\nwas very ill and Mrs. Kane was to come at once. This message,", "The end came after four days during which Jennie was by his bedside\nalmost constantly. The nurse in charge welcomed her at first as a", "The final ceremonies presented a peculiar commentary on the\nanomalies of existence. It was arranged with Mrs. Kane by wire that", "only Mrs. Kane that ever was, lying in his arms. He had held\nher so once. He had loved her. Yes, he had! There was a solid lump in", "\"Before Mr. Kane senior died,\" he went on, \"he indicated to\nyour--ah--to Mr. Lester Kane, that he felt this way. In his", "Mrs. Kane, the mother, was a quiet, refined woman, sixty years of\nage, who, having come up from comparative poverty with her husband,", "\"There is just one other point which I wish to make in this\nconnection, Mrs. Kane,\" he went on softly and easily. \"I see now that", "ideal companion for his brother. He knew by many signs and tokens that\nhis brother, since the unfortunate termination of their father's\nattitude and his own peculiar movements to gain control of the Kane", "\"I thought I'd have one more talk with you, Lester, on a subject\nthat's rather difficult for me to bring up,\" began the elder Kane.\n\"You know what I'm referring to?\"", "\"She hasn't lost any of that, I can tell you,\" replied Lester\nsignificantly. Mrs. Kane smiled and went on to speak of various family", "somehow. And while I hesitate very much to say so, I must tell you\nthat Mr. Kane senior stipulated in his will that unless,", "proceedings. She finally observed the group of immediate relatives\nwaiting--Mrs. Kane, Robert, Mrs. Midgely, Louise, Amy, Imogene,", "On Wednesday Mrs. Kane arrived. She was greatly distraught, for her\nlove, like Jennie's, was sincere. She left her room that night when", "\"This is Mr. Kane's apartment, I believe,\" began Louise,\ncondescendingly, as she looked in at the open door behind Jennie. She", "Jennie; he wanted to be alone with her. She would sit beside him quite\nstill and sew. She could see plainly that the end was only a little\nway off." ], [ "\"I'm awfully sorry, Lester,\" said Jennie, reading behind the dry\nface of humor the serious import of this affair to him. She had long", "struck Lester as suspicious. He frowned and determined to inquire\nthoroughly into the matter. A moment later Jennie reappeared. Her face\nwas white and her fingers seemed to be nervously seeking something to", "\"I want to tell you something, Jennie,\" said Lester, finally\nrousing himself from his fit of abstraction. \"I may seem peculiar to", "Letty looked at Lester. In spite of Jennie, the old feeling came\nback. Why should she have been cheated of him? They were as", "During the three years in which Jennie and Lester had been\nassociated there had grown up between them a strong feeling of mutual", "delivered as it was in a very nervous manner by one whose only object\nwas to bring her, had induced the soul-racking fear of death in Jennie\nand caused her to brave the discovery of Lester in the manner", "\"And you were really going to leave me, Jennie, with just a\nletter?\" said Lester, his voice hardening a little as he spoke. \"I", "Matters might have gone on smoothly enough were it not for the fact\nthat Lester's private life with Jennie was not a matter which could be", "She held it up. Jennie, who never could tell what was to follow,\nreached over and put it down, while Lester with difficulty restrained\na desire to laugh.", "was considerably impressed with Jennie's pleasing appearance. He could\nsee quite plainly why Lester might cling to her in the face of all\nopposition. He continued to study her furtively as he sat there", "She put her hands over his shoulders, looked long into his eyes,\nthen kissed him. When their lips met she trembled. Lester also felt\nunsteady. Jennie saw his agitation, and tried hard to speak.", "That a man of Lester's temperament should consider himself wronged\nby Jennie merely because she had concealed a child whose existence was\ndue to conduct no more irregular than was involved later in the", "A week or two later Jennie confided to her mother that Lester had\nwritten her to join him in Chicago. He was not feeling well, and could", "Lester returned to his correspondence and Jennie fell to thinking\nof Vesta. It troubled her to realize that she was keeping this secret", "Sunday paper at the time it had appeared--it had been shown to\nher at school--but she had had sense enough to say nothing about\nit, feeling somehow that Jennie would not like it. Lester's", "tears came into Jennie's eyes; she wished, for the moment, that she\nmight die. It would be better so. Meanwhile Lester was dancing with", "The trouble with Jennie's plan was that it did not definitely take\ninto consideration Lester's attitude. He did care for her in an", "Jennie was intensely sorry. She had never heard Lester complain\nbefore. It was a new note. She wished sincerely that she might do", "and had learned a great deal as to the real facts of Lester's\nirregular mode of life. The question whether or not he was really\nmarried to Jennie remained an open one. The garbled details of", "When Lester returned to his home, after the funeral, Jennie saw at\nonce that something was amiss with him, something beyond a son's" ], [ "Matters might have gone on smoothly enough were it not for the fact\nthat Lester's private life with Jennie was not a matter which could be", "\"I want to tell you something, Jennie,\" said Lester, finally\nrousing himself from his fit of abstraction. \"I may seem peculiar to", "\"No,\" said Jennie guiltily. \"I thought I'd better not tell him\nabout her. She oughtn't to be brought into it if I can help it.\"", "\"And you were really going to leave me, Jennie, with just a\nletter?\" said Lester, his voice hardening a little as he spoke. \"I", "Letty looked at Lester. In spite of Jennie, the old feeling came\nback. Why should she have been cheated of him? They were as", "A week or two later Jennie confided to her mother that Lester had\nwritten her to join him in Chicago. He was not feeling well, and could", "of Lester's relationship with Jennie was not that she was not worth\nwhile, but that conditions made it impolitic. On the other hand, union", "The fact that such a situation as this might militate against any\npermanent arrangement with Jennie was obvious even to Lester at this\ntime. He thought out his course of action carefully. Of course he", "\"I'm awfully sorry, Lester,\" said Jennie, reading behind the dry\nface of humor the serious import of this affair to him. She had long", "\"It isn't the money that Jennie wants,\" said Lester, gloomily.\n\n\"Well, even if it isn't, she can live without you and she can live\nbetter for having an ample income.\"", "had little to say. The nurse cautioned them that he was not to be\ntalked to much. When they were gone Lester said to Jennie, \"Imogene\nhas changed a good deal.\" He made no other comment.", "When Lester returned to his home, after the funeral, Jennie saw at\nonce that something was amiss with him, something beyond a son's", "The trouble with Jennie's plan was that it did not definitely take\ninto consideration Lester's attitude. He did care for her in an", "She held it up. Jennie, who never could tell what was to follow,\nreached over and put it down, while Lester with difficulty restrained\na desire to laugh.", "Sunday paper at the time it had appeared--it had been shown to\nher at school--but she had had sense enough to say nothing about\nit, feeling somehow that Jennie would not like it. Lester's", "struck Lester as suspicious. He frowned and determined to inquire\nthoroughly into the matter. A moment later Jennie reappeared. Her face\nwas white and her fingers seemed to be nervously seeking something to", "one moment, imagine that he could directly work upon Lester--he\ndid not care to try--but he did think that some influence might\nbe brought to bear on Jennie. She was probably amenable to reason. If", "Lester wrote to Jennie of his coming marriage to Mrs. Gerald. He\nsaid that he had no explanation to make. It wouldn't be worth anything", "and had learned a great deal as to the real facts of Lester's\nirregular mode of life. The question whether or not he was really\nmarried to Jennie remained an open one. The garbled details of", "Lester sighed. He saw how hopeless this argument was. He felt that\nhis father probably meant what he said, but how could he leave Jennie," ], [ "During this period Jennie received her earliest lesson in the\nvagaries of men. For two weeks she did not even see him, and one", "relationship to Jennie was in the air, anyhow. He could best solve the\nproblem by leaving her. So it all came back to that.", "Brander was gone, and Jennie's fate was really in the balance. But\nher mind still retained all of the heart-innocence, and", "happen to her. She was such a good girl. Oh!\" she concluded, \"to think\nhe should ruin Jennie.\"", "On her part Jennie had sincerely, deeply, truly learned to love\nthis man. At first when he had swept her off her feet, overawed her", "On the fourth evening Brander came, and inquiring for Jennie, who was\nexceedingly nervous, he took her out for a walk. She was afraid of her", "A month later Jennie was able to announce that Lester intended to\nmarry her. His visits had of course paved the way for this, and it", "\"I--I,\" began Jennie, stammering. \"I--have--\"\n\n\"Yes,\" he said grimly.", "He had realized clearly enough of late that he had made a big mistake;\nfirst in not having married Jennie, thus avoiding scandal; and in the\nsecond place in not having accepted her proposition at the time when", "\"That is the woman he should have married,\" said Jennie to herself\nas he disappeared. She fell into a reverie, going over the steps of", "\"Indeed I shall,\" answered Jennie, a little nervously, for the\nordeal was a trying one. \"I appreciate your goodness in calling. Mr.", "however, when just six weeks after he had last parted with Jennie, he\nwas seized with a sudden attack of heart failure and never regained\nconsciousness. Jennie remained blissfully ignorant of his illness and", "Jennie begged him not to talk of it, but he would. One day at four\no'clock he had a sudden sinking spell, and at five he was dead. Jennie", "As to Jennie, his original object in approaching her had been\npurely selfish. But now that he had asserted his masculine", "and wonderful personality that had come into Jennie's life. He was\nwealthy; he wanted to take Jennie; he wanted to give them a good home.\nWhat a story!", "Jennie, who until now had borne his questions with unmoving pain,\nwinced at this. He was now encroaching upon the period that was by far", "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "Jennie; he wanted to be alone with her. She would sit beside him quite\nstill and sew. She could see plainly that the end was only a little\nway off.", "At the end of the week Gerhardt took his leave, Jennie returned\nhome, and for a time at least there was a restoration of the old\norder, a condition which, of course, could not endure.", "During the first few months everything went smoothly. He was in the\nhabit of taking Jennie to the theater now and then, and if he chanced" ], [ "Vesta would come and turn briskly around before him, saying,\n\"See.\"\n\n\"Yes. You're all right. Go on\"; and on she would go.", "Vesta,\" he said a little awkwardly. \"I never dreamed anything like\nthat could happen.\"", "Vesta smiled back at him, and now that the ice was broken she\nchattered on unrestrainedly. One thing led to another, and at last", "Jennie and her mother had talked over this very matter, and Jennie\nhad expressed a preference for Vesta. Now her mother made bold to\nsuggest it as her own choice.\n\n\"How would Vesta do?\"", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "During this period his friendly relations with the little Vesta\ninsensibly strengthened. He discovered that there was a real flavor of", "from it for months at a time; she had never even hinted at its\nexistence, and yet her affection for Vesta was obviously great. \"It's\nqueer,\" he said. \"She's a peculiar woman.\"", "Vesta and leaving, and I think it is really better that I should.\nLester, I ought to do it. You know when you met me we were very poor,", "\"Vesta is so delighted with herself to-day,\" she volunteered by way\nof diversion. \"She got such nice marks in school.\"\n\n\"That's good,\" he replied solemnly.", "explanation was to be made to Vesta. He liked her very much and wanted\nher \"life kept free of complications.", "\"Does he know about Vesta?\" asked her mother cautiously.", "her own toilet a last touch. Vesta was supposedly in the kitchen. As a\nmatter of fact, she had followed her mother to the door of the", "\"What is it, Vesta?\" she inquired, following her.\n\nBy this time, however, Vesta had reached the kitchen, secured a\nlittle broom, and returned, a droll determination lighting her\nface.", "down at night after she had said her prayers, she came to be the chief\nsolace and comfort of his days. Without Vesta, Gerhardt would have\nfound his life hard indeed to bear.", "\"Oh, well,\" she thought finally, \"he is not going to leave me right\naway--that is something. And I can bring Vesta here.\" She sighed", "It was a lame explanation, but it satisfied Vesta for the time\nbeing. \"I'll slap her if she tries to slap me,\" she persisted.", "\"I know,\" she replied, \"but we have a good home now and Vesta is\nthere. Won't you come? Lester wants you to.\"\n\n\"Tell me one thing,\" he demanded. \"Are you married?\"", "\"Where was I born?\" continued Vesta, ignoring the last inquiry, and\ninterested in clearing up her own identity.\n\n\"In Columbus, Ohio, pet. Why?\"", "telling him about Vesta--somehow it all pointed to the same\nthing. She had not been married at home. Gerhardt had never had sight\nof her marriage certificate. Since she was away she might have been", "this way. Vesta is getting along where she understands everything. She\nthinks you are her really truly uncle. I have thought of it all so\nmuch. I have thought a number of times that I would try to talk to you" ], [ "\"It isn't the money that Jennie wants,\" said Lester, gloomily.\n\n\"Well, even if it isn't, she can live without you and she can live\nbetter for having an ample income.\"", "\"And you were really going to leave me, Jennie, with just a\nletter?\" said Lester, his voice hardening a little as he spoke. \"I", "Letty looked at Lester. In spite of Jennie, the old feeling came\nback. Why should she have been cheated of him? They were as", "Against Lester's strong personality and vigorous protest Jennie's\nown conclusions and decisions went to pieces. Just the pressure of his\nhand was enough to upset her. Now she began to cry.", "\"I want to tell you something, Jennie,\" said Lester, finally\nrousing himself from his fit of abstraction. \"I may seem peculiar to", "tears came into Jennie's eyes; she wished, for the moment, that she\nmight die. It would be better so. Meanwhile Lester was dancing with", "Jennie was disappointed at Gerhardt's refusal. She talked it over\nwith Lester, and decided that she would go on to Cleveland and see", "Jennie was intensely sorry. She had never heard Lester complain\nbefore. It was a new note. She wished sincerely that she might do", "\"I'm awfully sorry, Lester,\" said Jennie, reading behind the dry\nface of humor the serious import of this affair to him. She had long", "effected. If Lester refused to marry Jennie, or to leave her, he was\nto have nothing at all after the three years were up. At Lester's", "A week or two later Jennie confided to her mother that Lester had\nwritten her to join him in Chicago. He was not feeling well, and could", "Jennie, and it started her thinking again. She could see what the\npoint was. If she were out of the way Mrs. Gerald would marry Lester;", "\"Why don't you settle down, Lester, and get married?\" Jennie heard\nher say to him the second day he was there. \"You know it's time.\"", "Lester sighed. He saw how hopeless this argument was. He felt that\nhis father probably meant what he said, but how could he leave Jennie,", "relationship to Jennie was in the air, anyhow. He could best solve the\nproblem by leaving her. So it all came back to that.", "The trouble with this attitude was that it adjusted nothing,\nimproved nothing, left everything to drift on toward an indefinite\nend. If Lester had married Jennie and accepted the comparatively", "She put her hands over his shoulders, looked long into his eyes,\nthen kissed him. When their lips met she trembled. Lester also felt\nunsteady. Jennie saw his agitation, and tried hard to speak.", "struck Lester as suspicious. He frowned and determined to inquire\nthoroughly into the matter. A moment later Jennie reappeared. Her face\nwas white and her fingers seemed to be nervously seeking something to", "During the three years in which Jennie and Lester had been\nassociated there had grown up between them a strong feeling of mutual", "delivered as it was in a very nervous manner by one whose only object\nwas to bring her, had induced the soul-racking fear of death in Jennie\nand caused her to brave the discovery of Lester in the manner" ], [ "to death herself, and hastily despatched a neighbor to say that Vesta\nwas very ill and Mrs. Kane was to come at once. This message,", "additional note telling him that Vesta was dead. He was truly grieved,\nfor his affection for the girl had been real. He was very sorry for", "Vesta smiled back at him, and now that the ice was broken she\nchattered on unrestrainedly. One thing led to another, and at last", "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "Vesta would come and turn briskly around before him, saying,\n\"See.\"\n\n\"Yes. You're all right. Go on\"; and on she would go.", "Vesta,\" he said a little awkwardly. \"I never dreamed anything like\nthat could happen.\"", "When she reached the gate she fairly sped up the little walk and\ninto the house, where Vesta was lying pale, quiet, and weak, but", "Vesta and leaving, and I think it is really better that I should.\nLester, I ought to do it. You know when you met me we were very poor,", "telegram to Lester saying that Vesta was dead, but, being absent,\nthere was no response. The house was looked after with scrupulous care\nby others, for Jennie was incapable of attending to it herself. She", "It was a lame explanation, but it satisfied Vesta for the time\nbeing. \"I'll slap her if she tries to slap me,\" she persisted.", "of the dining-room. Vesta had disappeared. Jennie came in a little\nwhile later and closed the door. She knew of nothing to say. Lester,", "Vesta went away leaving Jennie brooding over her words. The\nneighbors were talking. Her history was becoming common gossip. How\nhad they found out.", "\"Vesta is so delighted with herself to-day,\" she volunteered by way\nof diversion. \"She got such nice marks in school.\"\n\n\"That's good,\" he replied solemnly.", "from it for months at a time; she had never even hinted at its\nexistence, and yet her affection for Vesta was obviously great. \"It's\nqueer,\" he said. \"She's a peculiar woman.\"", "Jennie understood. She came up and looked at her daughter keenly.\nVesta's pale, waxen face told the story. She was breathing faintly,", "When Jennie came out he commented on the fact that Vesta had\narrived. \"Rather sweet-looking child,\" he said. \"Do you have much\ntrouble in making her mind?\"\n\n\"Not much,\" she returned.", "The situation in regard to Vesta was really complicated. Owing to\nthe feeling that she was doing her daughter a great injustice, Jennie", "appreciation of Vesta's fine character, became more and more drawn\ntoward her. Lester was gone, but at least she had Vesta. That prop", "down at night after she had said her prayers, she came to be the chief\nsolace and comfort of his days. Without Vesta, Gerhardt would have\nfound his life hard indeed to bear.", "\"What is it, Vesta?\" she inquired, following her.\n\nBy this time, however, Vesta had reached the kitchen, secured a\nlittle broom, and returned, a droll determination lighting her\nface." ], [ "\"Yes,\" she replied, lying hopelessly. \"I have been married a long\ntime. You can ask Lester when you come.\" She could scarcely look him\nin the face, but she managed somehow, and he believed her.", "if he married her. And she could understand why. She could look into\nthe charming, smiling face of this woman who was now with Lester, and\nsee that she considered her very nice, perhaps, but not of Lester's", "The trouble with this attitude was that it adjusted nothing,\nimproved nothing, left everything to drift on toward an indefinite\nend. If Lester had married Jennie and accepted the comparatively", "\"Why don't you settle down, Lester, and get married?\" Jennie heard\nher say to him the second day he was there. \"You know it's time.\"", "Lester had not married her already, she must realize full well that he\ndid not intend to do so. Suppose that some responsible third person\nwere to approach her, and explain how things were, including, of", "A month later Jennie was able to announce that Lester intended to\nmarry her. His visits had of course paved the way for this, and it", "late Malcolm Gerald, and because she was realizing the dreams of her\nyouth in getting Lester at last--even though a little\nlate--she was intensely happy. She could think of nothing finer", "Mr. O'Brien was watching her curiously. He was thinking that Lester\nboth had and had not made a mistake. Why had he not married her in the\nfirst place? She was charming.", "married, but the way Lester had neglected Jennie for long periods, the\nhumbleness with which she ran at his beck and call, her fear of", "and neighbors had begun to drop in she had imagined herself on the\nthreshold of a great career, that some day, possibly, Lester would\nmarry her. Now, blow after blow had been delivered, and the home and", "\"She's a nice girl, Lester,\" put in his father, who was standing\nnear the open fire. \"I only wish you would marry her and settle down.\nYou'd have a good wife in her.\"", "The report was that Lester, one of its principal heirs, had married a\nservant girl. He, an heir to millions! Could it be possible? What a", "\"Don't get excited, father,\" said Lester quickly. \"We won't get\nanywhere that way. I say I might marry her. She's not a bad woman, and", "married, Lester,\" she said daringly, \"I'll confess to you that you\nwere the one man I always wanted to have propose to me--and you\nnever did.\"", "Lester wrote to Jennie of his coming marriage to Mrs. Gerald. He\nsaid that he had no explanation to make. It wouldn't be worth anything", "Lester. Where is your judgment? Why, you've lived in open adultery\nwith her for years, and now you talk of marrying her. Why, in heaven's", "\"How do you know I haven't married her?\" inquired Lester coolly. He\nwanted to see how his father would take to that idea.", "\"You must decide, Lester,\" she kept saying to him, from time to\ntime. \"You must let me go. What difference does it make? I will be all", "Lester missed at once the inquiries which a man like Dodge would\nhave made if he had really believed that he was married. Under\nordinary circumstances his friend would have wanted to know a great", "she was afraid that Lester might not marry her. Certainly he showed no\nsigns of intending to do so." ], [ "\"Letty,\" he said. \"You ought not to want to marry me. I'm not worth\nit. Really I'm not. I'm too cynical. Too indifferent. It won't be\nworth anything in the long run.\"", "Letty looked at Lester. In spite of Jennie, the old feeling came\nback. Why should she have been cheated of him? They were as", "little. He cared for Letty too. That was all right. She had hoped once\nthat he might want her only. Since he did not, was his affection worth", "Lester looked at Letty, wondering at her eagerness. She was\nbeautiful, magnetic, immensely worth while.\n\n\"Not so fast,\" he repeated. \"I want to think about this. I have\nsome time yet.\"", "easily enough. Now Letty did depend upon Lester. It was something, in\nso shifty and uncertain a world, to be near so fixed and determined a", "\"Well, you see, Letty, it hasn't worked out that way. She's a woman\nof a curious temperament. She possesses a world of feeling and", "He recounted as much of his experiences as he deemed wise, and Letty\nbrought the history of her life up to date. \"Now that you're safely", "\"You know, Lester,\" said Letty, by way of helping him to his\nconfession--the maid had brought tea for her and some brandy and", "Mrs. Gerald, or sitting out between the waltzes talking over old\ntimes, old places, and old friends. As he looked at Letty he marveled", "\"I know it,\" said Lester, getting up. He took her hands in his, and\nstudied her face curiously. Then he turned away. Letty paused to get\nher breath. His action discomposed her.", "She spoke of seeing a lot of him. That meant that Jennie would have to\nbe eliminated. He would have to make a clean breast of the whole\naffair to Letty. Then she could do as she pleased about their future", "\"I ought to,\" he replied. \"She's a good woman, Letty; but, for all\nthat I have said, I sometimes think that it's only sympathy that's\nholding me.\"", "hotel life objectionable. He felt as though he must find a\nsympathetic, intelligent ear, and where better than here? Letty was\nall ears for his troubles. She would have pillowed his solid head upon", "Lester had always retained pleasant impressions and kindly memories\nof Letty Pace, or Mrs. Gerald, as she was now. He had been fond of her", "who knew him and liked him. Take Letty Pace, for instance. Why in the\nname of common sense had he not married her? She was good looking,", "Lester paused and deliberated before replying. \"I really don't know\nhow to answer that last question, Letty,\" he said. \"Sometimes I think", "He took her hands, then her arms. Finally he drew her to him, and\nput his arms about her waist. \"Poor Letty!\" he said; \"I'm not worth\nit. You'll be sorry.\"", "\"There was something about her so--\"\n\n\"Love at first sight,\" again interpolated Letty foolishly. Her\nheart was hurting her. \"I know.\"", "that was certain. As it was--well, the question was a complicated\none. Letty was Lester's natural mate, so far as birth, breeding, and", "before Jennie, whom it might have been said he truly\nadmired--Letty Pace. He had not seen her for a long time, and she" ], [ "Jennie to see her, but she never had called herself, and Jennie\nunderstood quite clearly that it was not to be. Now that her father\nwas dead, she was beginning to wonder what was going to become of her;", "Jennie's mind had been made up. She had sinned, and sinned\ngrievously, against her daughter, but now she would make amends so far", "After the funeral Jennie tried to think of her future. She fixed\nher mind on the need of doing something, even though she did not need", "Jennie went quietly to her room. She gathered up her few little\nbelongings and began, with tears, to put them into a valise her mother", "Jennie; he wanted to be alone with her. She would sit beside him quite\nstill and sew. She could see plainly that the end was only a little\nway off.", "Jennie went to her room, but the very thought of repose was\ninsupportable. She had read in the paper, shortly after her father's", "there, but Jennie had gone to her daughter's grave; later he called\nagain and found her in. When the boy presented his card she suffered\nan upwelling of feeling--a wave that was more intense than that", "When Lester returned to his home, after the funeral, Jennie saw at\nonce that something was amiss with him, something beyond a son's", "Jennie, to whom confession had seemed impossible, under the\nsympathetic persistence of her mother broke down at last and made the\nfatal confession. Mrs. Gerhardt stood there, too dumb with misery to\ngive vent to a word.", "In the meantime Jennie had been going through a moral crisis of her\nown. For the first time in her life, aside from the family attitude,", "Jennie felt as if the earth had fallen. All ties were broken. There\nwas no light anywhere in the immense darkness of her existence.\n\n\n\n\nCHAPTER LIX", "Mrs. Gerhardt made no sign, but her very immobility told something.\nJennie went over to her and quickly discovered that she had been\nweeping.", "Jennie, who had been moving about the dining-room beyond the\nsitting-room, heard the cutting references to herself. She winced with\npain.", "Mrs. Davis seized Jennie firmly. \"There, there, you poor dear,\" she\nwhispered when she began to shake. \"It can't be helped. Don't\ncry.\"", "Jennie sank on her knees beside the bed and caressed Vesta's still\nwarm hand. \"Oh no, Vesta,\" she pleaded. \"Not you! Not you!\"", "When Jennie came her mother turned to her instinctively; here was\nher one stay.", "Jennie looked at her mother, and her eyes dimmed with tears.\nInstinctively she ran to her and put her arms around her.", "Brander was gone, and Jennie's fate was really in the balance. But\nher mind still retained all of the heart-innocence, and", "Jennie stood before him, pale, trembling a little, and silent. The\nchildren she had brought home with her crowded about in frightened\namazement. Veronica and Martha, who loved her dearly, began to\ncry.", "Jennie, of all the children, fully understood her mother; she alone\nstrove, with the fullness of a perfect affection, to ease her\nburden.\n\n\"Ma, you let me do this.\"" ], [ "Jennie, and George were at work. Two of the younger children went to\nthe train to meet him. When he entered Mrs. Gerhardt greeted him\naffectionately, but she trembled for the discovery which was sure to", "\"Yes, she knows,\" he returned. \"Jennie and George just came up\nwhere I was and told me. I didn't know anything about it until just\nnow,\" and he began to cry again.", "Curiously, now, as he thought, his first meeting with Jennie at\nMrs. Bracebridge's came back to him. What was it about her then that", "At Bass's suggestion Jennie wrote her mother to come at once, and a\nweek or so later a suitable house was found and rented. Mrs. Gerhardt,", "During this period Jennie received her earliest lesson in the\nvagaries of men. For two weeks she did not even see him, and one", "In the meantime Jennie was going her way, settling herself in the\nmarkedly different world in which henceforth she was to move. It", "deliberation had studied out a tour. He made Jennie his confidante,\nand now, having gathered together their traveling comforts they took a\nsteamer from New York to Liverpool. After a few weeks in the British", "On the fourth evening Brander came, and inquiring for Jennie, who was\nexceedingly nervous, he took her out for a walk. She was afraid of her", "Jennie came forward, extending her hand and blushing. She found\nherself so much disturbed by this visit that she could hardly find\ntongue to answer his questions.", "But fortune had another fling for him to endure. It got about the\nhotel that Jennie was, to use the mildest expression, conducting", "As for Jennie, he drew nearer to her in every possible way, so that\nat last she came to see him in a light which would require", "\"Some one ought to go up and tell your father,\" she said. \"He may\nbe in jail.\"\n\nJennie volunteered, but George, who was soundly sleeping, was\nawakened to go along with her.", "plane and within the circle of his own associates, he had met no one\nwho appealed to him as did Jennie. She was gentle, intelligent,", "He arose, and opening wide his door, perceived Jennie. She had\ncome, as she had suggested to her mother, at this time, instead of on\nMonday, in order to give a more favorable impression of\npromptness.", "Bass met Jennie at the depot in Cleveland and talked hopefully of\nthe prospects. \"The first thing is to get work,\" he began, while the", "never met. Robert had thought of his brother often. He had followed\nhis success since he had left Jennie with interest. He read of his\nmarriage to Mrs. Gerald with pleasure; he had always considered her an", "\"Come over here, Jennie,\" he said, \"and stand by me.\"\n\nShe came, and, moved by a sudden impulse, he took her hand.", "Jennie the ordinary formalities of social intercourse, so that when\nthe first visitor called Jennie might be prepared to receive her.\nWithin a fortnight this first visitor arrived in the person of Mrs.", "rather favorably with Jennie. She talked with her a little while, and\nfinally decided to try her in the general capacity of maid.", "He called a carriage and rode out to Jennie's residence. He found\nher watering some plants; her face expressed her surprise at his\nunusual presence." ] ]

[ "Where did Jennie meet George?", "How many years pass by before Jennie tells Kane about her daughter?", "What is George's profession?", "What does Jennie demand happen after she hears the terms of the granfather's will?", "Who is Jennie's daughter?", "How did Vesta die?", "Why doesn't Kane's family approve of Jennie?", "What does Jennie do after Vesta's death?", "In what city was Jennie working in when she met George?", "What does Jennie name her daughter?", "What happens to George?", "Why would Kane's family disapprove of his relationship with Jennie?", "When does Jennie tell Kane about Vesta?", "What are the conditions of Kane's inheritance?", "Who does Kane marry?", "How does Vesta die?", "How many children does Jennie adopt?", "Who tends to Kane until his death?", "What does Jennie initially hide from Lester?", "Why does Lester not want to tell his family about Jennie?", "What happens to Jennies first fiance?", "Who is Vesta?", "Why does Jennie demand that she and Lester separate?", "How does Vesta die?", "Who does Lester finally marry?", "Who is Letty?", "What does Jennie do after her daughter passes away?", "Where did Jennie meet George?" ]

[ [ "In a hotel.", "In a hotel in Columbus, Ohio." ], [ "Three years.", "Three years." ], [ "U.S. State Senator.", "A US senator." ], [ "For Jennie and Kane to separate.", "That she and Kane seperate" ], [ "Vesta.", "Vesta" ], [ "She contracted typhoid fever.", "Complications of typhoid fever" ], [ "They are in different social classes.", "Their difference in class" ], [ "She adopts two orphans.", "Adopts two orphans" ], [ "Columbus", "Columbus, Ohio" ], [ "Vesta", "Vesta" ], [ "He dies before they wed.", "He dies" ], [ "Because they are of different class", "She is from a lower social class." ], [ "3 years into their relationship", "After living together for 3 years" ], [ "That he leaves Jennie", "A big part is dependent on him leaving Jennie." ], [ "Letty Gerald Pace", "Letty Gerald Pace" ], [ "Typhoid Fever", "Typhoid fever" ], [ "Two", "two" ], [ "Jennie", "Jennie." ], [ "That she has a daughter", "Her illegitimate daughter, Vesta." ], [ "That she comes from a lower financial class", "because he knows they will be unhappy due to her social station" ], [ "He dies before they could get married", "He died" ], [ "Jennies daughter", "Jennies daughter" ], [ "He will not receive all of his inheritance unless he leaves her", "For Lester's sake" ], [ "Typhoid fever", "Typhoid fever " ], [ "Letty Gerald Pace", "Letty Gerald Pace" ], [ "A rich widow who marries Lester", "An affluent widow who marries Kane." ], [ "She adopts two orphans", "Adopts 2 orphans and continues to love Kane. " ], [ "In a hotel she worked at in Columbus", "At a hotel in Colombus, Ohio." ] ]

[ [ "SUPER: TWO WEEKS LATER\n He pauses in front of Bright Eyes, huddled at the back of her\n cage.", "Franklin ignores him, steps inside Bright Eyes' cage. He\n moves to the very back and pulls aside a blanket.\n At first Will doesn't understand what he's looking at. The", "From the back of her cage, Bright Eyes watches through the\n open door as the ape on the table convulses.\n\n CAROLINE\n Okay. Back it out...", "RESTRAINTS.\n\n FRANKLIN\n She's convulsing.\n Caroline sticks a stethoscope in the tube, listens to Bright\n Eyes' heart.", "FRANKLIN\n Here we go, Bright eyes.\n A MIST fogs our view for a moment.\n\n CAROLINE\n Not too much. She needs to be\n calm, but alert.", "FRANKLIN (CONT'D)\n You okay back there?\n\n CAROLINE\n Something wrong with Bright Eyes?", "2.\n Alpha spots Bright Eyes across the clearing, dragged off in a\n net. He RUSHES to save her, leaps in the air...\n\n A SHOT RINGS OUT.", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "EYES HAVE CHANGED.\n Caesar gets right up against the bars of Rocket's cage, takes\n Rocket's face in his hands and looks into his eyes: THEY ARE", "Bright Eyes wants to stay by Alpha's side, but he bares his\n teeth and sends her off.\n Then he drops, landing firmly on the clearing floor. All", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "18.\n\n FRANKLIN\n Bright Eyes - the mother. That's\n why she wouldn't let anyone into\n her cage.\n Will looks down at the helpless baby.", "From Bright Eyes' vantage point she can see through the open\n door as Lucky's strapped down.", "BRIGHT EYES WATCHES - HORRIFIED - AS ALPHA CRUMPLES IN THE\n\n AIR AND FALLS TO THE GROUND. LIKE A STONE.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "WE SEE THAT EVANS' MASK HAS BEEN KNOCKED ASKEW.\n Will finishes administering the drug. Koba goes limp on the\n table.", "EYES. Expressive, alive. Human?\n No. They belong to a FEMALE CHIMPANZEE: BRIGHT EYES.", "Donnie and Bright Eyes are at a standoff. Once more he tries\n to open the cage, once more she yanks it shut.\n Again he tries... and is taken by surprise when SHE GRABS HIS", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "Will inserts the adenovirus 113 nozzle into a plastic oxygen\n mask.\n Koba's eyes are on him as he brings the mask toward the" ], [ "CAESAR\n Who.\n With effort, Will pulls himself from his own thoughts and\n tries to understand what Caesar wants from him.\n\n CAESAR (CONT'D)\n Who.", "CAESAR\n Who Caesar.\n\n WILL\n What do you mean?", "JACOBS\n 'Him'?\n\n WILL\n Caesar.", "(HORRIFIED)\n Caesar?\n\n WILL\n He's dangerous.", "CAESAR\n No \"what\". \"Who\".\n Will is taken aback - beginning to realize the intellectual\n leap Caesar's taken.", "Caesar takes him in his arms, cradles him with love.\n Will looks into Caesar's green eyes. He relaxes. Lets go.\n Then the life passes out of him.", "92.\n\n CAESAR", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "WILL\n You must be Mr. Landon.\n\n (SHAKING HANDS)\n This is Caesar.", "WALTER\n Caesar...\n Straddling Hunsiker, teeth bared, Caesar pounds him with his\n fists.\n\n HUNSIKER\n Help! Get him off -", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Caesar watches as Hunsiker inspects the ruined front fender,\n then turns to YELL at someone.\n That's when Walter comes into Caesar's view.", "CAESAR\n Caesar go. Caesar see.\n Will locks the car door.", "Then, OUT OF NOWHERE, CAESAR SWINGS DOWN FROM A TREE. HE", "INT. WILL'S STUDY - DAY\n\n Caesar enters, finds Will at the desk, head in hands. Will\n senses his presence. Looks up.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "CAESAR\n (with his voice)\n No!\n\n STUNNED SILENCE.", "WILL\n His name is Caesar. If I can\n reason with him, I know I can put\n an end to this.", "They hold each others' gaze, Caesar taking his measure. Then\n Caesar puts a finger to his lips. \"Shhhh.\"\n Maurice makes no movement, but the agreement is clear." ], [ "A repulsive bowl of primate chow. Caesar - bandaged, beat-up\n and miserable - picks at it. In the next cage, the\n orangutans sleep.", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "Caesar freezes.\n Dodge enters with the wheelbarrow of Primate Chow and the\n shovel. Locks the door behind him.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "Caesar and Rocket arrive at the Primate House. Caesar tries\n the big double door - locked. He looks upward, spies a ROW", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Caesar goes rigid, staring at a DOZEN CHIMPS in the branches\n of the trees - behind bars. They stare back at him. One", "Time has passed. Long shadows of late afternoon.\n Caesar sits on a bed of twigs and straw in a corner of the\n cage, heavy head resting on his arms.", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "wound on his arm, now nearly healed.\n Has Caesar's blood changed Rocket?\n Caesar opens Rocket's'cage. The chimp emerges, ready for", "CAESAR\n Careful. Stupid human no like\n smart ape.\n Dodge begins shoveling primate chow into the troughs.\n Maurice and Caesar stop signing and blend in.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "Now they have a clear view of the cramped cages, DARKENED\n FIGURES INSIDE. Caesar walks alongside them, peering into", "Caesar's waiting when Rocket runs up. They take off\n together.\n\n INT. CHIMPANZEE HOUSE - NIGHT", "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "Sunlight reaches through the bars and streaks across Caesar's\n face. He opens his eyes. Looks at Cornelia, still asleep.\n Caesar creeps toward the open entrance to her cage.", "Caesar and Rocket head for the fence. A GUARD approaches on\n his nightly rounds.\n They look at each other, lay low.\n To protect Caesar, Rocket takes off running. The SHOCKED", "\"MONKEY\", \"MONKEY\", \"MONKEY\"... The chanted words ring in\n Caesar's ears. He drops his arms and walks over to Todd," ], [ "He rushes Dodge, wrestling the shovel from his hands.\n Dodge spins around to defend himself - and CAESAR HITS HIM IN", "DODGE (CONT'D)\n I said get!\n But Caesar doesn't move.", "Dodge pokes the shovel at him, then SLAMS it to the cement\n floor.\n He edges closer to Caesar, grip tightening around the shovel", "DODGE (CONT'D)\n Back!\n Caesar reacts, a snarl curling his lips.", "THE WORLD STOPS SPINNING.\n Dodge is thunderstruck - nearly loses his balance.\n Caesar has spoken. Actually uttered a word.", "THE SIDE OF THE HEAD.\n Dodge staggers back.\n Caesar SLAMS the shovel in his stomach.\n Dodge crumples forward.", "DODGE\n Caesar - over here.\n Dodge stands at a cage door. Caesar sprints for it, as for\n salvation-but AS SOON AS HE CROSSES THE THRESHOLD, HE", "CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD.\n Lights out.\n Caesar drags Dodge to Rocket's cage and opens the door.\n Rocket helps pull him inside.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "DODGE (CONT'D)\n Go on. Get in that cage.\n Caesar stops, refusing to go any farther.", "DODGE (CONT'D)\n Think that's funny? That funny to\n you, you hairy prick?\n Caesar stares at Dodge... then SHOOTS HIM THE FINGER.", "DODGE\n Rise and shine, assholes.\n The chimps wake. One by one they notice Caesar, standing in\n the common area.\n\n THEN DODGE SEES HIM.", "WHOOSH...\n DODGE - nervous - crouches low. He edges backwards, hopeful\n of some visibility.\n That's when he SEES CAESAR, CLEAR AND OUT OF THE FOG,", "DODGE (CONT'D)\n Here's a little taste of beer...\n He unzips his fly and PISSES INTO THE CHIMP'S FEEDING TROUGH.\n Caesar watches, disgusted.", "DODGE\n Caesar. Hey. I can get you out.\n Dodge stands at the end of the atrium, BECKONING.\n\n DODGE (CONT'D)\n This way.", "DODGE\n No way.\n As she walks to Dodge, CAESAR GLANCES INTO HER MEDICAL BAG.", "Stunned, Rocket spins around - HIS MOUTH FULL OF CAESAR'S\n BLOOD - AND SEES DODGE OUTSIDE THE CAGE, RIFLE IN HAND. He", "RODNEY\n Look at that!\n Infuriated, Dodge grabs a hose, drags it to Caesar's cage.", "Will waits at a picnic table as Dodge approaches with Caesar\n on a leash. He's immediately struck by Caesar's injured", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage." ], [ "He rushes Dodge, wrestling the shovel from his hands.\n Dodge spins around to defend himself - and CAESAR HITS HIM IN", "CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD.\n Lights out.\n Caesar drags Dodge to Rocket's cage and opens the door.\n Rocket helps pull him inside.", "THE SIDE OF THE HEAD.\n Dodge staggers back.\n Caesar SLAMS the shovel in his stomach.\n Dodge crumples forward.", "Dodge pokes the shovel at him, then SLAMS it to the cement\n floor.\n He edges closer to Caesar, grip tightening around the shovel", "DODGE (CONT'D)\n Think that's funny? That funny to\n you, you hairy prick?\n Caesar stares at Dodge... then SHOOTS HIM THE FINGER.", "DODGE (CONT'D)\n I said get!\n But Caesar doesn't move.", "DODGE\n Caesar - over here.\n Dodge stands at a cage door. Caesar sprints for it, as for\n salvation-but AS SOON AS HE CROSSES THE THRESHOLD, HE", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "DODGE\n Caesar. Hey. I can get you out.\n Dodge stands at the end of the atrium, BECKONING.\n\n DODGE (CONT'D)\n This way.", "DODGE (CONT'D)\n Back!\n Caesar reacts, a snarl curling his lips.", "DODGE\n Then he must have a voicebox in his\n ass, because I heard him!\n Caesar walks up.\n Will steels himself, feels in his pocket - the POISONED\n COOKIE is ready.", "The water BLAST is relentless.\n Eventually, Dodge turns the water off. The two men take a\n long look at Caesar. He's left battered and soaked on the", "WHOOSH...\n DODGE - nervous - crouches low. He edges backwards, hopeful\n of some visibility.\n That's when he SEES CAESAR, CLEAR AND OUT OF THE FOG,", "BAM! DODGE SHOOTS A TRANQUILIZER DART INTO THE SIDE OF\n\n CAESAR'S NECK - HE GRABS AT THIS THROAT AND FALLS.", "ROCKET, climbing behind Caesar, looks down - SEES DODGE\n AIMING AGAIN. He starts swinging towards Caesar.", "DODGE (CONT'D)\n Go on. Get in that cage.\n Caesar stops, refusing to go any farther.", "DODGE (CONT'D)\n Here's a little taste of beer...\n He unzips his fly and PISSES INTO THE CHIMP'S FEEDING TROUGH.\n Caesar watches, disgusted.", "WITH RELISH, DODGE READIES HIS RIFLE, AIMS AT CAESAR'S BACK.\n There's glare from a ray of sunlight that's broken through", "Caesar freezes.\n Dodge enters with the wheelbarrow of Primate Chow and the\n shovel. Locks the door behind him.", "BRIDGE, TUMBLING TO HIS DEATH.\n Caesar SCREAMS, looks down at Dodge, who aims again.\n But Dodge is diverted by a RUMBLING - like an EARTHQUAKE ON" ], [ "98.\n A moment later, Caesar and his apes RUMBLE IN. Chaos.\n PEOPLE scatter. SCREAM.\n Released balloons float lazily upward.", "Caesar goes rigid, staring at a DOZEN CHIMPS in the branches\n of the trees - behind bars. They stare back at him. One", "Caesar and his chimps BURST THROUGH THE DOOR.\n No time is wasted. Cages are opened, LAB CHIMPS liberated.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "\"MONKEY\", \"MONKEY\", \"MONKEY\"... The chanted words ring in\n Caesar's ears. He drops his arms and walks over to Todd,", "WILL\n Come on.\n As Will drags Caesar off, the apes in the enclosure climb\n higher in the tree to watch. Suddenly they ALL BEGIN TO", "HUNSIKER\n Your monkey came onto my property!\n Threatened my kids!\n By now Caesar has climbed into Will's arms, burying his head\n in. his neck. Will backs toward the gate.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "wound on his arm, now nearly healed.\n Has Caesar's blood changed Rocket?\n Caesar opens Rocket's'cage. The chimp emerges, ready for", "A LEVER THROWN OPEN.\n Caesar watches as Dodge opens all the chimpanzee house cages\n in succession.\n Rodney moves to the orangutan house. CAESAR PAYS CLOSE", "AT THE SOUTH END OF THE BRIDGE\n Caesar and his apes race forward.\n\n INT. HELICOPTER - DAY", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy.", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "Caesar walks across the bridge. To his left, (connecting to\n the bridge) he sees TWO MORE APE HOUSES CONNECTING TO THE", "Caesar wriggles the harness around so that he can reach the\n clamp on his back with his long chimpanzee arms.", "them and extending them end to end.\n Caesar pauses, sensing something. He looks over his\n shoulder, discovers MAURICE THE ORANGUTAN watching him." ], [ "finds himself staring into the huge, angry gorilla face.\n Caesar - nervous - beckons toward the open door.\n Buck understands but can't believe it. For a moment he", "He waits, but Buck doesn't budge. He's still fast asleep.\n Caesar hesitates. Then he slowly...", "doesn't move. Caesar makes the gesture again -- \"Come on,\n let's go.\"\n Before he can finish, Buck bursts past him...", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "Then he turns to Buck - who stands up tall, beats his chest\n and YELLS... BUT THEN OFFERS UP HIS HAND.", "Maurice takes Cornelia from Caesar's arms as Buck and Rocket\n urge him forward.\n Koba hangs back, watching, fascinated, as Maurice lays", "PICKS HIM UP, AND THROWS HIM OFF THE BRIDGE.\n Dodge's body twirls through the air -\n\n INT. HELICOPTER - DAY", "CUT TO:\n Caesar - devastated, the rage building in his face.\n He looks up as one of the HELICOPTERS BUZZES LOW - HE SEES", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "with one giant jump, he makes it to the top of a tree across\n the street, tracking Hunsiker like prey.\n Hunsiker's running out of steam. Caesar swings down in front", "INT. HELICOPTER- DAY", "SKITTERING across the CONCRETE.\n The chimpanzees, awake now, watch to see what will happen.\n Rocket looks from Buck to Caesar. He's beaten.", "BROKEN OFF.\n\n EXT. POLICE STATION - DAY\n\n Four HELICOPTERS wait. Hoff s, Will and Stewart climb into\n one of them.", "AT THE SOUTH END OF THE BRIDGE\n Caesar and his apes race forward.\n\n INT. HELICOPTER - DAY", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Will watches Caesar moving the apes down the zoo's pathways,\n dodging people, jumping over benches.", "MOUNTAIN: BUCK.\n Buck raises his arms and SLAMS them down with a MIGHTY ROAR;\n Caesar slings the plastic refrigerator aside, sending it", "INT. HELICOPTER - DAY\n\n Will's gone pale.\n\n STEWART\n\n (ALARMED)\n Is he hurt?", "INT. ASCENDING HELICOPTER - DAY", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "INT. HELICOPTER - DAY" ], [ "Will inserts the adenovirus 113 nozzle into a plastic oxygen\n mask.\n Koba's eyes are on him as he brings the mask toward the", "Will and Evans (the handler) are wearing hazmat masks as they\n administer Adenovirus 113 to chimp after chimp.", "INT. COCKPIT - NIGHT\n\n Hunsiker shakes hands with his CO-PILOT and sits. He flicks\n a switch.\n\n EXT. RUNWAY - NIGHT", "REVEAL WILL in the doorway, watching it all very carefully.\n A VIRUS TECHNICIAN approaches him. He's tentative, nervous.", "NEWSCASTER VOICE #1 (O.S.)\n As the ape search continues, a\n virulent flu strain has exploded in\n and around San Francisco, sending\n shock waves and panic throughout\n the community.", "Chimp after chimp convulses on the table.\n They lead Koba to the table. Koba knows what to do. He lies\n down, allows himself to be strapped in.", "Hunsiker - Will's neighbor - exits his house with a small\n rolling suitcase. He's wearing his pilot's uniform.\n\n INT. TAXI - NIGHT", "THAT GOES LOUDLY ROLLING ALONG THE CEMENT FLOOR.\n\n IT'S A CRUMPLED CANISTER OF ADENOVIRUS 113. THE NOZZLE'S", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "INT. AIRPLANE - NIGHT\n\n Hunsiker says hello to the FLIGHT STAFF and moves to the\n front of the plane.", "All routine. Everyone's guard is down.\n But as soon as the BLAST OF AEROSOL MIST is released, KOBA", "PICKS HIM UP, AND THROWS HIM OFF THE BRIDGE.\n Dodge's body twirls through the air -\n\n INT. HELICOPTER - DAY", "VIRUS TECHNICIAN\n Dr. Rodman - I think there's been a\n mistake.\n Will's been waiting for this observation - he's surprised it\n took so long to come up.", "(INCREASINGLY DESPERATE)\n Although isolated in the western\n region of the country, the numbers\n are catastrophic and quickly\n rising...\n Push in on CAESAR'S FACE.", "VIRUS TECHNICIAN\n But... isn't it risky? I mean, at\n this rate of propagation, we", "99.\n By now, ALL THE ANIMALS ARE GOING CRAZY.\n Above, the sky is full of helicopters now -- some Police, some\n News Crews.", "JACOBS\n What Dr. Rodman has done is to\n invent a virus that can, for the\n first time, cross the membrane that\n protects the brain and deliver a\n genetic, therapeutic, payload.", "Koba moves into frame. We've been watching from his point of\n view, from inside the cage.\n Now we look over his shoulder, where the sharp planes of his", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "NEWSCASTER VOICE #3\n As the death toll rapidly rises,\n Hospitals are desperately trying to\n meet the growing demand...\n Caesar sits alone, staring straight at us." ], [ "JACOBS\n The animal handler - Franklin - was\n killed last night. In the primate\n house.\n\n WILL\n Franklin's dead?", "packed in ice.\n He spots Jacobs, who looks wrecked. He hurries over to him.", "Jacobs watches a TOW TRUCK pull away with his ruined black\n Jaguar in tow.\n He climbs into a waiting taxi. He looks like hell.\n\n INT. TAXI - DAY", "JACOBS\n He's worse, isn't he?\n Will wants to tell Jacobs the truth - he's tempted to tell\n him about Caesar, about Walter's treatment - but he can't.", "(BEAT)\n But only under one condition.\n It takes Jacobs a moment before he gets outraged.", "JACOBS\n You're out of your mind.\n Like a chess player, Will lets the unasked question sit\n there. And Jacobs is undeniably, voraciously curious.", "96.\n Once outside Koba GALLOPS OFF. Jacobs can see him through\n the open doorway disappearing in the direction of the others\n Jacobs takes a stumbling step backwards, KICKING SOMETHING", "JACOBS\n Aside from biting off a man's\n finger.", "Will spots Jacobs,'lunching with his Blackberry, in a corner.\n He heads for him. Jacobs looks up, sees will coming.\n Will slides into the seat across from him.", "Jacobs, a Security Guard and the two Officers are huddled\n behind a squad car. Other Employees are hiding and watching", "JACOBS\n Look around you, for Christ sakes.\n We'll be lucky if we don't go to\n jail.\n Will's gutted - devastated.", "JACOBS\n\n (DESPONDENT)\n Whatever.\n\n HE COUGHS.\n\n CUT TO:", "EXT. GEN-SYS LABORATORIES - DAY\n\n An AMBULANCE pulling away. Two POLICE CARS out front.\n Jacobs stands talking with a couple of POLICE OFFICERS.", "JACOBS\n Something very powerful broke his\n neck. Snapped it in two.\n\n WILL\n Could it have been one of our\n chimps?", "Jacobs enters the lab. In front of him is utter silence and\n devastation. Like the morning after a huge, destructive\n party.\n Out of the quiet there's the PADDING SOUND OF FOOTSTEPS ON", "BROKEN GLASS.\n Jacobs freezes.\n KOBA APPEARS from around a doorway. He and Jacobs look at\n each other for a long moment.\n Then Koba calmly walks past him.", "JACOBS\n You think you're the only one who's\n got something at stake here? I've\n got my own skin in this game!", "JACOBS\n The ape?\n Jacobs looks at his old friend, wondering about his sanity.", "OFFICER\n (handing Jacobs a card)\n If you think of anything else, this\n is where I can be reached -", "JACOBS (CONT'D)\n Where in the hell did that chimp\n come from?!\n\n EXT. WILL'S HOUSE -- MORNING" ], [ "SUPER: TWO WEEKS LATER\n He pauses in front of Bright Eyes, huddled at the back of her\n cage.", "Franklin ignores him, steps inside Bright Eyes' cage. He\n moves to the very back and pulls aside a blanket.\n At first Will doesn't understand what he's looking at. The", "FRANKLIN\n Here we go, Bright eyes.\n A MIST fogs our view for a moment.\n\n CAROLINE\n Not too much. She needs to be\n calm, but alert.", "Bright Eyes wants to stay by Alpha's side, but he bares his\n teeth and sends her off.\n Then he drops, landing firmly on the clearing floor. All", "From Bright Eyes' vantage point she can see through the open\n door as Lucky's strapped down.", "FRANKLIN (CONT'D)\n You okay back there?\n\n CAROLINE\n Something wrong with Bright Eyes?", "From the back of her cage, Bright Eyes watches through the\n open door as the ape on the table convulses.\n\n CAROLINE\n Okay. Back it out...", "WE SEE THAT EVANS' MASK HAS BEEN KNOCKED ASKEW.\n Will finishes administering the drug. Koba goes limp on the\n table.", "RESTRAINTS.\n\n FRANKLIN\n She's convulsing.\n Caroline sticks a stethoscope in the tube, listens to Bright\n Eyes' heart.", "CAROLINE\n What is this?\n Caroline holds up a picture of a tree for Bright Eyes, who", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "2.\n Alpha spots Bright Eyes across the clearing, dragged off in a\n net. He RUSHES to save her, leaps in the air...\n\n A SHOT RINGS OUT.", "FRANKLIN\n Be right over -\n Donnie looks closely at Bright Eyes. There's something\n different in her face today. Rage? Force of will?", "65.\n He peers inside. Koba stares back, EYES MURKY AND SMALL\n\n BENEATH A HEAVILY PROTRUDING BROW, DARKENED PIGMENTATION", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "DONNIE\n Your turn.\n Bright Eyes RUSHES FORWARD, HER HANDS GRIPPING THE BARS SO\n\n DONNIE CAN'T OPEN THE CAGE.", "Donnie and Bright Eyes are at a standoff. Once more he tries\n to open the cage, once more she yanks it shut.\n Again he tries... and is taken by surprise when SHE GRABS HIS", "\"little boy\" - and his EYES HAVE TURNED A DEEP GREEN.\n Back and forth Caesar goes, as high as he can manage.", "INT. WALTER'S ROOM - NIGHT\n\n The opening door sends a wash of light into the dark room.\n Walter's in bed. He opens his eyes, squinting at the\n brightness.", "EYES HAVE CHANGED.\n Caesar gets right up against the bars of Rocket's cage, takes\n Rocket's face in his hands and looks into his eyes: THEY ARE" ], [ "Franklin ignores him, steps inside Bright Eyes' cage. He\n moves to the very back and pulls aside a blanket.\n At first Will doesn't understand what he's looking at. The", "SUPER: TWO WEEKS LATER\n He pauses in front of Bright Eyes, huddled at the back of her\n cage.", "FRANKLIN (CONT'D)\n You okay back there?\n\n CAROLINE\n Something wrong with Bright Eyes?", "2.\n Alpha spots Bright Eyes across the clearing, dragged off in a\n net. He RUSHES to save her, leaps in the air...\n\n A SHOT RINGS OUT.", "18.\n\n FRANKLIN\n Bright Eyes - the mother. That's\n why she wouldn't let anyone into\n her cage.\n Will looks down at the helpless baby.", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "Bright Eyes wants to stay by Alpha's side, but he bares his\n teeth and sends her off.\n Then he drops, landing firmly on the clearing floor. All", "Donnie and Bright Eyes are at a standoff. Once more he tries\n to open the cage, once more she yanks it shut.\n Again he tries... and is taken by surprise when SHE GRABS HIS", "FRANKLIN\n Be right over -\n Donnie looks closely at Bright Eyes. There's something\n different in her face today. Rage? Force of will?", "Caesar takes him in his arms, cradles him with love.\n Will looks into Caesar's green eyes. He relaxes. Lets go.\n Then the life passes out of him.", "From Bright Eyes' vantage point she can see through the open\n door as Lucky's strapped down.", "FRANKLIN\n Here we go, Bright eyes.\n A MIST fogs our view for a moment.\n\n CAROLINE\n Not too much. She needs to be\n calm, but alert.", "CAROLINE\n What is this?\n Caroline holds up a picture of a tree for Bright Eyes, who", "CAROLINE\n Let go, Bright Eyes! You're\n hurting him!\n She tries to help pull Donnie away.", "From the back of her cage, Bright Eyes watches through the\n open door as the ape on the table convulses.\n\n CAROLINE\n Okay. Back it out...", "EYES HAVE CHANGED.\n Caesar gets right up against the bars of Rocket's cage, takes\n Rocket's face in his hands and looks into his eyes: THEY ARE", "Bright Eyes.", "BRIGHT EYES WATCHES - HORRIFIED - AS ALPHA CRUMPLES IN THE\n\n AIR AND FALLS TO THE GROUND. LIKE A STONE.", "DONNIE\n Your turn.\n Bright Eyes RUSHES FORWARD, HER HANDS GRIPPING THE BARS SO\n\n DONNIE CAN'T OPEN THE CAGE.", "The last is BUCK, whose weight CRUSHES the car.\n And then they're gone. Every last one of them.\n Quiet now, except for CAR ALARMS." ], [ "EXT. PARK/CLEARING - DUSK\n\n Will enters the clearing.\n He knows this place. Up ahead is the GROVE OF TREES with the\n CANOPY that Caesar always loved.", "They've walked deep into the park. No people here. Will\n kneels next to Caesar.", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Will waits at a picnic table as Dodge approaches with Caesar\n on a leash. He's immediately struck by Caesar's injured", "As Will pulls into the entrance, Caesar's glued to the\n window.\n\n INT. MOVING CAR - DAY", "WILL\n You must be Mr. Landon.\n\n (SHAKING HANDS)\n This is Caesar.", "WILL\n Caesar - come back here!\n He watches Caesar's retreating back, Dodge trotting alongside\n him. Realizes Caesar's nearly breaking into a run.", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "WILL\n He's hungry.\n Caesar's angling to climb off the examining table. Will\n sends him a look - out it out.", "INT. WILL'S STUDY - DAY\n\n Caesar enters, finds Will at the desk, head in hands. Will\n senses his presence. Looks up.", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "Caesar takes him in his arms, cradles him with love.\n Will looks into Caesar's green eyes. He relaxes. Lets go.\n Then the life passes out of him.", "WILL (CONT'D)\n Guess he had it coming.\n Caesar watches as the Woman walks off with the dog, HIS GAZE", "Caesar - driving with Walter and Will -- looks out the window,\n extremely excited.\n\n EXT. PARKING LOT, MUIR WOODS - DAY", "INT. MOVING CAR »- DAY\n\n Will and Caesar drive. Caesar's dressed up - khaki pants and\n a Polo shirt.", "branches. Free, elated. An animal in his element.\n Caesar begins climbing a redwood. Our view of him is\n obscured by the leaves. As his dark form ascends, Will and", "Caesar lays Will out on the forest floor. There's a lot of\n blood.\n Will tries to speak. He looks up at Caesar.", "Will drives up, Caesar in tow. The ZOO'S BEING RENOVATED -\n machinery everywhere.\n\n INT. STEWART'S OFFICE - DAY", "39.\n As Will pulls away Caesar strains for a last glimpse,\n twisting around to look out the back window.", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy." ], [ "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "He's in the street, afraid, disoriented - while Hunsiker\n rages, jabbing a threatening finger towards Walter's chest.\n In a flash Caesar's down the attic stairs.", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "Time has passed. Long shadows of late afternoon.\n Caesar sits on a bed of twigs and straw in a corner of the\n cage, heavy head resting on his arms.", "Caesar and Rocket head for the fence. A GUARD approaches on\n his nightly rounds.\n They look at each other, lay low.\n To protect Caesar, Rocket takes off running. The SHOCKED", "48.\n\n INT. CAESAR'S CAGE -- LATER", ".and into the atrium. Caesar follows.\n The full moon shines down on Buck, the tree, the climbing\n structure.", "Just as Hunsiker's about to reach his front door, Caesar\n flies from behind - his feet hitting the door - and lands to\n block Hunsiker's entrance.", "Dodge pokes the shovel at him, then SLAMS it to the cement\n floor.\n He edges closer to Caesar, grip tightening around the shovel", "cage.\n The BURST from the HOSE sends Caesar flying backwards.\n Pinned into a corner, he curls himself into a ball, using his\n back as a shield.", "Then, OUT OF NOWHERE, CAESAR SWINGS DOWN FROM A TREE. HE", "CAESAR\n Caesar mother...\n Will grows concerned.\n\n WILL\n No. This is a bad place for you,\n Caesar. We're going to go now.", "(TO CAESAR)\n Want to see the play center?\n Caesar nods. Absolutely.\n\n EXT. CAGED ATRIUM - DAY", "Caesar freezes.\n Dodge enters with the wheelbarrow of Primate Chow and the\n shovel. Locks the door behind him.", "EXT. PARK/CLEARING - DUSK\n\n Will enters the clearing.\n He knows this place. Up ahead is the GROVE OF TREES with the\n CANOPY that Caesar always loved.", "WHOOSH...\n DODGE - nervous - crouches low. He edges backwards, hopeful\n of some visibility.\n That's when he SEES CAESAR, CLEAR AND OUT OF THE FOG,", "He rushes Dodge, wrestling the shovel from his hands.\n Dodge spins around to defend himself - and CAESAR HITS HIM IN", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD.\n Lights out.\n Caesar drags Dodge to Rocket's cage and opens the door.\n Rocket helps pull him inside." ], [ "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "SKITTERING across the CONCRETE.\n The chimpanzees, awake now, watch to see what will happen.\n Rocket looks from Buck to Caesar. He's beaten.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "Caesar rolls the ball to a nearby chimp. It receives the\n ball, gives Caesar nothing - no smile, no connection - then\n tosses it to Rocket.", "\"MONKEY\", \"MONKEY\", \"MONKEY\"... The chanted words ring in\n Caesar's ears. He drops his arms and walks over to Todd,", "WILL\n Which one of you wants chocolate...\n Chimpanzees stare back at him, giving him nothing.\n NOISE FROM BEHIND. Will turns. Down the row, A CHIMPANZEE", "The chimp watches, riveted, as the Alice BURSTS INTO OUTRAGED\n TEARS and runs after them.", "The chimp looks around at the SOARING TREES. What is this\n place? The three of them head into the forest, Caesar\n tugging at the leash.", "CHIMPANZEE HOUSE HAS A NEW ALPHA MALE.\n\n INT. PRIMATE RESEARCH LAB - DAY", "CAESAR EXPLODES OUT THE DOOR.\n No time for anybody to react. The chimpanzee BODY SLAMS\n HUNSIKER to the ground.", "Chimp after chimp convulses on the table.\n They lead Koba to the table. Koba knows what to do. He lies\n down, allows himself to be strapped in.", "CAESAR\n Careful. Stupid human no like\n smart ape.\n Dodge begins shoveling primate chow into the troughs.\n Maurice and Caesar stop signing and blend in.", "HUFFS\n This man owns one of the chimps.\n\n (BEAT)\n The so-called \"leader\". Says he\n can reason him out.", "CUT TO:\n A LARGE MALE CHIMPANZEE IN THE WILD. He stands at the top of", "The CHIMP DISAPPEARS around a corner. A moment passes, then\n another. The men follow... and discover CAESAR STANDING IN A", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy.", "A repulsive bowl of primate chow. Caesar - bandaged, beat-up\n and miserable - picks at it. In the next cage, the\n orangutans sleep.", "Caesar tries to push Rocket away, but the larger chimp throws\n Caesar to the ground, pinning him.\n Caesar struggles to get away, accidentally SLAPPING Rocket", "Caesar and his chimps BURST THROUGH THE DOOR.\n No time is wasted. Cages are opened, LAB CHIMPS liberated.", "a tree, an alpha male, eyeing the CHIMPS around him.\n In a sudden BURST of movement, the CHIMPANZEE TAKES OFF," ], [ "A repulsive bowl of primate chow. Caesar - bandaged, beat-up\n and miserable - picks at it. In the next cage, the\n orangutans sleep.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "CAESAR\n Careful. Stupid human no like\n smart ape.\n Dodge begins shoveling primate chow into the troughs.\n Maurice and Caesar stop signing and blend in.", "wound on his arm, now nearly healed.\n Has Caesar's blood changed Rocket?\n Caesar opens Rocket's'cage. The chimp emerges, ready for", "Caesar freezes.\n Dodge enters with the wheelbarrow of Primate Chow and the\n shovel. Locks the door behind him.", "Caesar and Rocket arrive at the Primate House. Caesar tries\n the big double door - locked. He looks upward, spies a ROW", "Caesar goes rigid, staring at a DOZEN CHIMPS in the branches\n of the trees - behind bars. They stare back at him. One", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "Time has passed. Long shadows of late afternoon.\n Caesar sits on a bed of twigs and straw in a corner of the\n cage, heavy head resting on his arms.", "Caesar's waiting when Rocket runs up. They take off\n together.\n\n INT. CHIMPANZEE HOUSE - NIGHT", "\"MONKEY\", \"MONKEY\", \"MONKEY\"... The chanted words ring in\n Caesar's ears. He drops his arms and walks over to Todd,", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Now they have a clear view of the cramped cages, DARKENED\n FIGURES INSIDE. Caesar walks alongside them, peering into", "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "Caesar and Rocket head for the fence. A GUARD approaches on\n his nightly rounds.\n They look at each other, lay low.\n To protect Caesar, Rocket takes off running. The SHOCKED", "look to Caesar - moves off.\n Caesar crawls to the edge of his cage and peers out.\n Dodge and another animal wrangler, RODNEY, move from cage to", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy." ], [ "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "Dodge pokes the shovel at him, then SLAMS it to the cement\n floor.\n He edges closer to Caesar, grip tightening around the shovel", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "Caesar and Rocket head for the fence. A GUARD approaches on\n his nightly rounds.\n They look at each other, lay low.\n To protect Caesar, Rocket takes off running. The SHOCKED", "Time has passed. Long shadows of late afternoon.\n Caesar sits on a bed of twigs and straw in a corner of the\n cage, heavy head resting on his arms.", "Now they have a clear view of the cramped cages, DARKENED\n FIGURES INSIDE. Caesar walks alongside them, peering into", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow.", "Caesar manages to break loose, crawling away. Rocket grabs\n at his shirt, drags Caesar closer.\n He opens his mouth wide, moving sharp teeth toward Caesar's", "Rocket crawls back to his cage, defeated. Caesar - walking\n at full height - follows. He CLOSES ROCKET'S CAGE DOOR AND", "He's in the street, afraid, disoriented - while Hunsiker\n rages, jabbing a threatening finger towards Walter's chest.\n In a flash Caesar's down the attic stairs.", "CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD.\n Lights out.\n Caesar drags Dodge to Rocket's cage and opens the door.\n Rocket helps pull him inside.", "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "wound on his arm, now nearly healed.\n Has Caesar's blood changed Rocket?\n Caesar opens Rocket's'cage. The chimp emerges, ready for", "DODGE\n Caesar - over here.\n Dodge stands at a cage door. Caesar sprints for it, as for\n salvation-but AS SOON AS HE CROSSES THE THRESHOLD, HE", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "76.\n WE FIND CAESAR deep out of sight in the orangutan cage. He' s\n heard Will's words.\n Will waits. Caesar's not coming out.", "A repulsive bowl of primate chow. Caesar - bandaged, beat-up\n and miserable - picks at it. In the next cage, the\n orangutans sleep.", "SCREAMING. YELLING. JUMPING UP AND DOWN.\n That's when Caesar attacks." ], [ "WE SEE THAT EVANS' MASK HAS BEEN KNOCKED ASKEW.\n Will finishes administering the drug. Koba goes limp on the\n table.", "What if this drug does things you\n don't understand? Are you going to\n take responsibility for that?\n Because I'm sure as hell not going", "112.\n\n WILL\n That's why we're using it. We need\n the drug quickly.", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "Chimp after chimp convulses on the table.\n They lead Koba to the table. Koba knows what to do. He lies\n down, allows himself to be strapped in.", "WILL\n I could be thrown in jail. He's a\n chimpanzee who's been exposed to a\n possibly dangerous drug.\n\n FRANKLIN\n You don't believe that.", "JACOBS (CONT'D)\n We're not ready for human trials.\n Hell, we weren't ready for monkey\n trials.\n\n WILL\n They're apes.", "WILL\n There it is. Restored cognitive\n function.\n\n LAB TECH\n Same success rate as the primates.\n Congratulations.", "Finally he takes a SYRINGE and FILLS IT WITH THE GREEN\n LIQUID. Then he stands, walks to a closed door.", "The cages are empty, the doors open. Will notes used\n SYRINGES on the table, filled body bags lined up on the\n floor.\n It's a creepy, horrible scene.", "sometimes.\n He's oblivious to this, instead intent on getting the scan\n right. The green liquid moves through the chimp's neck...", "From the back of her cage, Bright Eyes watches through the\n open door as the ape on the table convulses.\n\n CAROLINE\n Okay. Back it out...", "WILL\n (into computer mic)\n At age two Caesar appears to exceed\n his mother's aptitude. He signs\n over three hundred words. He\n exhibits no visible side effects\n from the therapy...", "her, she's dead - a WHITE FOAM has formed at her lips.\n She's been poisoned.", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "RESTRAINTS.\n\n FRANKLIN\n She's convulsing.\n Caroline sticks a stethoscope in the tube, listens to Bright\n Eyes' heart.", "Will turns on the HOT WATER. SHUTS the door. Holding the\n limp, feeble chimp in his arms, he puts down the toilet seat\n and sits.", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "WILL\n For a human or a chimpanzee?\n First time he's seen her smile. It lights up her face.\n\n STEWART\n Gotta remember to eat." ], [ "The pack of apes, led by Caesar, emerges from the ranch gate\n and moves out over the countryside.\n\n EXT. RANCH GROUNDS - DAY", "Then Caesar starts to climb. Shimmying up a cable and into\n the fog. Rocket's right behind.\n The remaining apes follow.", "101.\n The apes arrive at the shadow of the great bridge - a\n stampeding phalanx with Caesar at the lead.", "HITS THE WATER.\n Below, the victorious ape army finishes off the battle of the\n bridge and follows Caesar through the north exit...\n .disappearing into the dense park.", "WILL\n Come on.\n As Will drags Caesar off, the apes in the enclosure climb\n higher in the tree to watch. Suddenly they ALL BEGIN TO", "WILL SEES below that soon Caesar and the apes will reach a\n place on the bridge where there are no more cars.\n Then they'll be open season.", "and puts her down out of harm's way.\n Then he continues herding the apes forward. He knows where\n he's going.", "APES RACE TO FOLLOW HIM OFF THE RANCH.\n Will - and the other humans - are blown away.\n\n EXT. COUNTRYSIDE - DAY", "The CHIMP DISAPPEARS around a corner. A moment passes, then\n another. The men follow... and discover CAESAR STANDING IN A", "EXT. ATRIUM - DAY\n\n Caesar enters, heads for the tree. One by one, the apes take\n notice. They STOP AND STARE at this new arrival - DRESSED", "EXT. CHIMPANZEE HOUSE - NIGHT\n\n Caesar and Rocket barrel across the ranch, past the living\n • quarters, past the barn, onto the winding road leading away.", "SKITTERING across the CONCRETE.\n The chimpanzees, awake now, watch to see what will happen.\n Rocket looks from Buck to Caesar. He's beaten.", "behind him, the huge chimp collapses, exhausted.\n Caesar walks around the chimpanzee house, images of the night\n swirling through his head. Around him, the chimps sleep,", "All kinds of apes - Chimps, Orangutans, Gorillas - rush from\n their separate enclosures.\n Caesar's apes are waiting for them.", "He can HEAR the APES in the distance.\n Caesar tries the GATE/DOOR to the outside. LOCKED. He\n pauses, then makes his way toward the BRIDGE.", "BULLETS can be heard RICOCHETING off cables.\n Another chimp falls to its death.\n Then a heavy patch of fog rolls in, engulfing the middle part", "Maurice, Rocket, Buck, and all the apes stare, dumbfounded,\n trying to comprehend what has just happened.\n And then... they go nuts.", "CAESAR\n Careful. Stupid human no like\n smart ape.\n Dodge begins shoveling primate chow into the troughs.\n Maurice and Caesar stop signing and blend in.", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Will watches Caesar moving the apes down the zoo's pathways,\n dodging people, jumping over benches." ], [ "Will inserts the adenovirus 113 nozzle into a plastic oxygen\n mask.\n Koba's eyes are on him as he brings the mask toward the", "REVEAL WILL in the doorway, watching it all very carefully.\n A VIRUS TECHNICIAN approaches him. He's tentative, nervous.", "JACOBS (CONT'D)\n We're not ready for human trials.\n Hell, we weren't ready for monkey\n trials.\n\n WILL\n They're apes.", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "CAROLINE\n In a chimpanzee. Unheard of.\n Will turns the possibilities over in his mind. Caroline\n moves away from him. He barely notices her now.", "VIRUS TECHNICIAN\n Dr. Rodman - I think there's been a\n mistake.\n Will's been waiting for this observation - he's surprised it\n took so long to come up.", "JACOBS\n What Dr. Rodman has done is to\n invent a virus that can, for the\n first time, cross the membrane that\n protects the brain and deliver a\n genetic, therapeutic, payload.", "Will and Evans (the handler) are wearing hazmat masks as they\n administer Adenovirus 113 to chimp after chimp.", "NO!\n Lucky turns on Will with a growl, lurching toward him and\n pinning him to the wall. It happens fast.\n The chimpanzee opens his powerful jaw, exposing DEADLY", "WILL\n There it is. Restored cognitive\n function.\n\n LAB TECH\n Same success rate as the primates.\n Congratulations.", "VIRUS TECHNICIAN (CONT'D)\n I've double-checked the replication\n rate of the 113 - and it's\n enormously fast compared to the", "VIRUS TECHNICIAN\n But... isn't it risky? I mean, at\n this rate of propagation, we", "WILL\n (into computer mic)\n At age two Caesar appears to exceed\n his mother's aptitude. He signs\n over three hundred words. He\n exhibits no visible side effects\n from the therapy...", "WILL\n What happened had nothing to do\n with the 112.\n (desperate to clarify)\n Take an already aggressive animal,\n make it smarter - you're going to\n get a potentially dangerous", "Chimp after chimp convulses on the table.\n They lead Koba to the table. Koba knows what to do. He lies\n down, allows himself to be strapped in.", "WILL (CONT'D)\n Human trials, Dad. Soon.", "branches. Free, elated. An animal in his element.\n Caesar begins climbing a redwood. Our view of him is\n obscured by the leaves. As his dark form ascends, Will and", "APES RACE TO FOLLOW HIM OFF THE RANCH.\n Will - and the other humans - are blown away.\n\n EXT. COUNTRYSIDE - DAY", "NEWSCASTER VOICE #1 (O.S.)\n As the ape search continues, a\n virulent flu strain has exploded in\n and around San Francisco, sending\n shock waves and panic throughout\n the community.", "WILL\n I appreciate your concern - but\n it's going to be fine. We plan on\n taking precautions.\n The Technician pauses, not entirely satisfied. But Will's\n look tells him the conversation is over." ], [ "INT. GEN-SYS LAB - DAY", "Will and Caesar are PARKED ACROSS THE STREET FROM THE GEN-SYS\n LAB GROUNDS, its buildings visible through the fencing.", "EXT. GEN-SYS GROUNDS - DAY\n\n Lucky BURSTS from the lab building and runs across the\n grounds. He leaps over a car, then heads for the nearest\n building.", "EXT. GEN-SYS LABORATORIES -- DAY", "EXT. GEN-SYS LABORATORIES - DAY\n\n An AMBULANCE pulling away. Two POLICE CARS out front.\n Jacobs stands talking with a couple of POLICE OFFICERS.", "INT. 'VIRUS FACTORY', GEN-SYS LABS - DAY", "EXT. GEN-SYS LABORATORIES/MAIN GATE - DAY\n\n A car pulls up to the gate. Evans is driving. He looks ill.\n\n GUARD", "(BEAT)\n And double this one's dose.\n\n EXT. GEN-SYS LABORATORIES - DUSK", "EXT. GEN-SYS GROUNDS - SAME", "GEN-SYS RESEARCH SIGN. The grounds are deserted. A SECURITY\n GUARD listens to RADIO in the guard kiosk.", "OFFICER\n We have a situation at Gen-Sys\n Laboratory! Approximately two\n dozen apes, gorillas, I don't know", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "WILL\n The lab.\n\n HUFFS\n You know anything about this?\n\n WILL\n That's where I work.", "NEWSCASTER VOICE #2\n Authorities suspect the origin of\n the deadly virus might be Gen-Sys\n Laboratories - the same private", "The cages are empty, the doors open. Will notes used\n SYRINGES on the table, filled body bags lined up on the\n floor.\n It's a creepy, horrible scene.", "A HUGE CAGED STRUCTURE, the size of a gymnasium. Inside are\n climbing constructions, ropes, toys, and, in the middle, a", "13.\n\n INT. LAB SECURITY ROOM - SAME", "A spinning machine, test tubes, a giant propagation tank.\n Empty canisters labeled ADENOVIRUS 113.", "Will stands at the fringes of the room, watching MEN IN\n HAZMAT SUITS pull down SHELVES OF METAL CANISTERS LABELED ADV", "They pull into a CLEARING. Ahead is a new world - CONCRETE\n AND STEEL BUILDINGS set incongruously into the bucolic\n countryside." ], [ "WILL RODMAN - late twenties, lab coat over a T-shirt and\n jeans - stands at the glass, watching the terrified\n chimpanzee slide into the machine.\n The focus in his eyes belies the casual dress.", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "WILL\n I could be thrown in jail. He's a\n chimpanzee who's been exposed to a\n possibly dangerous drug.\n\n FRANKLIN\n You don't believe that.", "WILL\n There it is. Restored cognitive\n function.\n\n LAB TECH\n Same success rate as the primates.\n Congratulations.", "WILL (CONT'D)\n You okay Evans?\n\n EVANS\n Yeah. I'm good.\n\n INT. PRIMATE RESEARCH LAB - DAY", "WILL\n It's just like with the mice.\n Alzheimer's is a progressive\n disease, you need to keep it at bay\n • - you need boosters.", "WILL\n We've discovered a safe treatment.\n It's the payday you've been waiting\n for. I'll recreate the primate\n version of 112 for you.", "WILL\n Which one of you wants chocolate...\n Chimpanzees stare back at him, giving him nothing.\n NOISE FROM BEHIND. Will turns. Down the row, A CHIMPANZEE", "JACOBS\n What Dr. Rodman has done is to\n invent a virus that can, for the\n first time, cross the membrane that\n protects the brain and deliver a\n genetic, therapeutic, payload.", "Will looks at a monitor showing the BRAIN SCAN OF THE CHIMP.\n The image starts to shake. Concerned, he looks to the other\n room - where he can see the CHIMP'S LEGS SHAKING IN THEIR", "JACOBS (CONT'D)\n We're not ready for human trials.\n Hell, we weren't ready for monkey\n trials.\n\n WILL\n They're apes.", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "WILL\n It'll take forever. I need to\n start developing a primate version\n now.\n Jacobs looks at Will. He's known him a long time.", "9.\n Will looks at his father lying there on his back, staring up\n at the ceiling. The once brilliant man now slipping away.\n\n INT. WILL'S STUDY - LATE NIGHT", "Will climbs into his truck and pauses. He reaches into a\n jacket pocket and brings out a VIAL - IT'S THE VIAL of 112 HE", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy.", "WILL\n What happened had nothing to do\n with the 112.\n (desperate to clarify)\n Take an already aggressive animal,\n make it smarter - you're going to\n get a potentially dangerous", "WILL\n But you won't - you need me to\n build the drug. Here's what I\n need: I want you to get Caesar\n back.\n\n JACOBS", "WILL\n\n (INTO INTERCOM)\n Please keep the monkey still.\n He focuses back on the monitor.", "WILL\n of course.\n\n INT. PRIMATE LAB - NIGHT" ], [ "SUPER: TWO WEEKS LATER\n He pauses in front of Bright Eyes, huddled at the back of her\n cage.", "Franklin ignores him, steps inside Bright Eyes' cage. He\n moves to the very back and pulls aside a blanket.\n At first Will doesn't understand what he's looking at. The", "From the back of her cage, Bright Eyes watches through the\n open door as the ape on the table convulses.\n\n CAROLINE\n Okay. Back it out...", "RESTRAINTS.\n\n FRANKLIN\n She's convulsing.\n Caroline sticks a stethoscope in the tube, listens to Bright\n Eyes' heart.", "2.\n Alpha spots Bright Eyes across the clearing, dragged off in a\n net. He RUSHES to save her, leaps in the air...\n\n A SHOT RINGS OUT.", "FRANKLIN\n Here we go, Bright eyes.\n A MIST fogs our view for a moment.\n\n CAROLINE\n Not too much. She needs to be\n calm, but alert.", "FRANKLIN (CONT'D)\n You okay back there?\n\n CAROLINE\n Something wrong with Bright Eyes?", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "Bright Eyes wants to stay by Alpha's side, but he bares his\n teeth and sends her off.\n Then he drops, landing firmly on the clearing floor. All", "EYES HAVE CHANGED.\n Caesar gets right up against the bars of Rocket's cage, takes\n Rocket's face in his hands and looks into his eyes: THEY ARE", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "WE SEE THAT EVANS' MASK HAS BEEN KNOCKED ASKEW.\n Will finishes administering the drug. Koba goes limp on the\n table.", "Will inserts the adenovirus 113 nozzle into a plastic oxygen\n mask.\n Koba's eyes are on him as he brings the mask toward the", "BRIGHT EYES WATCHES - HORRIFIED - AS ALPHA CRUMPLES IN THE\n\n AIR AND FALLS TO THE GROUND. LIKE A STONE.", "Donnie and Bright Eyes are at a standoff. Once more he tries\n to open the cage, once more she yanks it shut.\n Again he tries... and is taken by surprise when SHE GRABS HIS", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "18.\n\n FRANKLIN\n Bright Eyes - the mother. That's\n why she wouldn't let anyone into\n her cage.\n Will looks down at the helpless baby.", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "EYES. Expressive, alive. Human?\n No. They belong to a FEMALE CHIMPANZEE: BRIGHT EYES.", "LOCKS HIM IN.\n Then Caesar walks upright around the cages once more, making\n eye contact with each and every chimpanzee. He exits with\n his Lieutenant, Buck, in tow." ], [ "CAESAR\n Who.\n With effort, Will pulls himself from his own thoughts and\n tries to understand what Caesar wants from him.\n\n CAESAR (CONT'D)\n Who.", "CAESAR\n Who Caesar.\n\n WILL\n What do you mean?", "JACOBS\n 'Him'?\n\n WILL\n Caesar.", "(HORRIFIED)\n Caesar?\n\n WILL\n He's dangerous.", "CAESAR\n No \"what\". \"Who\".\n Will is taken aback - beginning to realize the intellectual\n leap Caesar's taken.", "Caesar takes him in his arms, cradles him with love.\n Will looks into Caesar's green eyes. He relaxes. Lets go.\n Then the life passes out of him.", "92.\n\n CAESAR", "Caesar realizes: Will's going to leave him here.\n First incredulous - then outraged - Caesar turns away and\n starts walking back to his cage.", "Keeping his eyes on Caesar, sweat dripping down his temples,\n Dodge KICKS CORNELIA'S CAGE SHUT.\n Now he starts moving forward, trying to back Caesar toward", "WILL\n You must be Mr. Landon.\n\n (SHAKING HANDS)\n This is Caesar.", "WALTER\n Caesar...\n Straddling Hunsiker, teeth bared, Caesar pounds him with his\n fists.\n\n HUNSIKER\n Help! Get him off -", "Caesar sees Will coming. He turns his back, heads to a\n common area away from the bars.\n Will runs up to the cage.", "Caesar watches as Hunsiker inspects the ruined front fender,\n then turns to YELL at someone.\n That's when Walter comes into Caesar's view.", "CAESAR\n Caesar go. Caesar see.\n Will locks the car door.", "Then, OUT OF NOWHERE, CAESAR SWINGS DOWN FROM A TREE. HE", "INT. WILL'S STUDY - DAY\n\n Caesar enters, finds Will at the desk, head in hands. Will\n senses his presence. Looks up.", "48.\n\n INT. CAESAR'S CAGE -- LATER", "CAESAR\n (with his voice)\n No!\n\n STUNNED SILENCE.", "WILL\n His name is Caesar. If I can\n reason with him, I know I can put\n an end to this.", "They hold each others' gaze, Caesar taking his measure. Then\n Caesar puts a finger to his lips. \"Shhhh.\"\n Maurice makes no movement, but the agreement is clear." ], [ "WILL RODMAN - late twenties, lab coat over a T-shirt and\n jeans - stands at the glass, watching the terrified\n chimpanzee slide into the machine.\n The focus in his eyes belies the casual dress.", "WILL\n Which one of you wants chocolate...\n Chimpanzees stare back at him, giving him nothing.\n NOISE FROM BEHIND. Will turns. Down the row, A CHIMPANZEE", "WILL (CONT'D)\n You okay Evans?\n\n EVANS\n Yeah. I'm good.\n\n INT. PRIMATE RESEARCH LAB - DAY", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy.", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "WILL\n I could be thrown in jail. He's a\n chimpanzee who's been exposed to a\n possibly dangerous drug.\n\n FRANKLIN\n You don't believe that.", "WILL\n We've discovered a safe treatment.\n It's the payday you've been waiting\n for. I'll recreate the primate\n version of 112 for you.", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "WILL\n There it is. Restored cognitive\n function.\n\n LAB TECH\n Same success rate as the primates.\n Congratulations.", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Will watches Caesar moving the apes down the zoo's pathways,\n dodging people, jumping over benches.", "WILL (O.S.)\n Caesar! Breakfast!\n The chimp turns at Will's call. HIS NAME IS CAESAR.\n\n INT. HOUSE - DAY", "Will and Evans (the handler) are wearing hazmat masks as they\n administer Adenovirus 113 to chimp after chimp.", "WILL\n of course.\n\n INT. PRIMATE LAB - NIGHT", "WILL\n It's just like with the mice.\n Alzheimer's is a progressive\n disease, you need to keep it at bay\n • - you need boosters.", "Will enters - WE SEE THAT HIS HAND HIS BANDAGED.\n The apes watch as he walks along the cages, eyes searching\n the dark chimpanzee faces.", "WILL\n Caesar - people are coming. People\n with guns. You've got to make the\n apes go back in their cages.\n\n CAESAR", "ARM EXTENDS FROM A CAGE, PALM UP - WITH A RED BAND.\n Will walks to the cage, chimp #11, reads the label beside it.", "9.\n Will looks at his father lying there on his back, staring up\n at the ceiling. The once brilliant man now slipping away.\n\n INT. WILL'S STUDY - LATE NIGHT", "WILL\n Come on.\n As Will drags Caesar off, the apes in the enclosure climb\n higher in the tree to watch. Suddenly they ALL BEGIN TO", "A large truck backs onto a loading dock. Will watches as a\n NEW GROUP OF CHIMPANZEES are unloaded from the truck and\n brought into the lab." ], [ "WILL RODMAN - late twenties, lab coat over a T-shirt and\n jeans - stands at the glass, watching the terrified\n chimpanzee slide into the machine.\n The focus in his eyes belies the casual dress.", "WILL (CONT'D)\n You okay Evans?\n\n EVANS\n Yeah. I'm good.\n\n INT. PRIMATE RESEARCH LAB - DAY", "Will takes OFF CAESAR'S HARNESS. The chimpanzee runs, begins\n flying from tree to tree. Will watches, nervous. But it's\n gratifying to see Caesar so happy.", "WILL\n Which one of you wants chocolate...\n Chimpanzees stare back at him, giving him nothing.\n NOISE FROM BEHIND. Will turns. Down the row, A CHIMPANZEE", "WILL\n of course.\n\n INT. PRIMATE LAB - NIGHT", "WILL\n Caesar - people are coming. People\n with guns. You've got to make the\n apes go back in their cages.\n\n CAESAR", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Will watches Caesar moving the apes down the zoo's pathways,\n dodging people, jumping over benches.", "WILL\n I could be thrown in jail. He's a\n chimpanzee who's been exposed to a\n possibly dangerous drug.\n\n FRANKLIN\n You don't believe that.", "WILL (O.S.)\n Caesar! Breakfast!\n The chimp turns at Will's call. HIS NAME IS CAESAR.\n\n INT. HOUSE - DAY", "WILL\n Caesar is an ape.\n\n (SIGNING)\n A chimpanzee.", "WILL\n He's the son of chimp 4. And he's\n smart. Off-the-charts smart.", "WILL\n It'll take forever. I need to\n start developing a primate version\n now.\n Jacobs looks at Will. He's known him a long time.", "(SIGNING)\n Apes no belong in cage. Human put\n apes in cage.\n Will's heart sinks as he sees that Caesar is intransigent.\n He means what he's saying.", "WALTER RODMAN, 60, sits at the piano dressed in a robe,\n stabbing at the key with his finger.\n Will enters, his posture almost visually changing with the\n emotional weight of this man, his father.", "Disoriented because of the construction, Will makes a wrong\n turn as he leads Caesar to the car.\n They find themselves in front of THE PRIMATE ENCLOSURE.", "CAESAR\n Walter Will father. Will Caesar\n father?\n Will looks at the chimp - sees the intensity, the pain on his\n face. How to begin to answer?", "WILL\n\n (INTO INTERCOM)\n Please keep the monkey still.\n He focuses back on the monitor.", "WILL\n He's going to release the apes.\n Looking to his left, Will sees a sniper try to get shots off -", "enters the cage kneels beside it, regards his tiny body, his\n little hands.\n Will readies the needle, brings it close to the chimp's", "REPORTER (CONT'D)\n The chimpanzee's distraught owner,\n Wilson Rodman, has raised the\n animal since he was an infant.\n\n (MORE)" ], [ "MR. LANDON\n Nice to meet you, Caesar. This is\n Dodge, helps me run the place.", "As they climb from the car, MR. LANDON, 50's, emerges from\n the office. DODGE, 20's, hangs back.", "HUFFS. Dodge, Rodney, and Landon huddle nearby.", "MR. LANDON\n What Dodge means is, in our\n experience, longer you drag out the\n leave-taking, harder it is. On", "DODGE\n That was not a smart thing to do.\n Dodge is clearly much tougher, stronger than Will, but Will's\n too angry to care.", "MR. LANDON (CONT'D)\n Hey Dodge - Stewart just called -\n WE FOLLOW HIM out of the living-room, into the...", "swear I'll have you brought up on\n charges.\n Dodge looks towards Landon's house, restrains himself.", "DODGE\n (loud enough for Will)\n No place like home, huh monkey boy?", "DODGE\n Well this'll be interesting because\n your freak'll talk back.\n\n RODNEY\n Dodge thinks he spoke to him.", "DODGE (CONT'D)\n And you're on private property.\n Now get the hell out of here.", "WILL\n You son of a bitch.\n Dodge scrabbles to his feet, wipes the blood from his nose.", "106.\n\n BUCK ARRIVES AT DODGE, PUTS HIS HUGE HANDS ON DODGE'S BODY,", "DODGE\n Whatever you say, doc.\n Dodge returns to stacking the chow.\n\n DODGE (CONT'D)\n You're the one with the college\n education.", "DODGE\n He can talk.\n\n STEWART\n That's impossible.", "DODGE (CONT'D)\n Mmmm mmm. Grade A primate chow.\n Bet you don't get none of that in", "DODGE\n He did! He said the word \"no\" -\n right to my face.\n\n WILL\n What do you mean?", "DODGE (CONT'D)\n What the hell -\n (seeing Cornelia's open", "DODGE\n Rise and shine, assholes.\n The chimps wake. One by one they notice Caesar, standing in\n the common area.\n\n THEN DODGE SEES HIM.", "DODGE\n Caesar. Hey. I can get you out.\n Dodge stands at the end of the atrium, BECKONING.\n\n DODGE (CONT'D)\n This way.", "DODGE (O.S.)\n Okay, assholes. Dinner time.\n Rocket - slowly and deliberately, with a last threatening" ], [ "9.\n Will looks at his father lying there on his back, staring up\n at the ceiling. The once brilliant man now slipping away.\n\n INT. WILL'S STUDY - LATE NIGHT", "Will pauses, listening to the MUSIC. He moves to the doorway\n to watch his father.\n The happiness - the relief - is clear on his face.\n\n EXT. BACK YARD - DAY", "looking at a cure for Alzheimer's.\n With an elbow prompting from Jacobs, Will takes a SAMPLE VIAL\n from his jacket pocket and awkwardly holds it up for dramatic", "Will climbs into his truck. Alone, he allows his excitement\n to show. Abstract thought!\n He pulls away from the BIO LAB, which is tucked in a corner\n of an old military base.", "Will climbs into his truck and pauses. He reaches into a\n jacket pocket and brings out a VIAL - IT'S THE VIAL of 112 HE", "WILL\n\n (DISAPPOINTED)\n No, Dad, it's me. Will.\n Will helps the old man under the bedcovers.", "WALTER RODMAN, 60, sits at the piano dressed in a robe,\n stabbing at the key with his finger.\n Will enters, his posture almost visually changing with the\n emotional weight of this man, his father.", "Will sits on the edge of the sofa, the VIAL of 112 in his\n hand. He's deep in agonized thought.", "WILL\n It was miraculous. Unquestionable\n adult neurogenesis - development of\n fresh nerve tissue.\n\n (BEAT)\n It brought my father back.\n But Jacobs is confused.", "WILL\n Someone's sleeping late today -\n Will opens the door - and FREEZES IN HIS TRACKS.\n\n WILL (CONT'D)\n Dad?", "(KISSES HIM)\n Good night, Walter, hone-ee.\n She heads out. Will gently takes his father's arm.\n\n I WILL\n Come on, Dad.", "Will pulls up in front of his house.\n Set in a hillside neighborhood, it's neat, nondescript. The", "WILL\n (syringe in hand)\n Dad. I've got something that's\n going to make you better.", "WILL\n That's my dad. He's not doing too\n well.\n\n STEWART\n Oh. Sorry.", "(INTERRUPTING)\n I tried the 112 on my father.\n A conversation stopper. Jacobs is stunned. That's the\n effect Will was after.", "WILL\n He won't go far.\n\n WALTER\n You don't know that.\n\n WILL\n I do, Dad.", "INT. BEDROOM - NIGHT\n\n Will sleeps the deep sleep of exhaustion. A HIGH PITCHED\n WAIL comes from another part of the house.\n Will sits up, remembering.", "WILL\n I'm going to make you better - I\n swear it.\n His father looks at him. A moment of recognition?\n\n WALTER\n John... ?", "WILL (CONT'D)\n They'll take good care of you here.\n\n DODGE\n That's about it for visiting hours.\n Will shoots him a look of daggers.", "WILL\n Hey Dad.\n Walter looks up, whispers...\n\n WALTER\n John... is that you?\n\n WILL\n It's me. Will." ], [ "EXT. CHIMPANZEE HOUSE - NIGHT\n\n Caesar and Rocket barrel across the ranch, past the living\n • quarters, past the barn, onto the winding road leading away.", "The pack of apes, led by Caesar, emerges from the ranch gate\n and moves out over the countryside.\n\n EXT. RANCH GROUNDS - DAY", "He can HEAR the APES in the distance.\n Caesar tries the GATE/DOOR to the outside. LOCKED. He\n pauses, then makes his way toward the BRIDGE.", "Then Caesar starts to climb. Shimmying up a cable and into\n the fog. Rocket's right behind.\n The remaining apes follow.", "101.\n The apes arrive at the shadow of the great bridge - a\n stampeding phalanx with Caesar at the lead.", "and puts her down out of harm's way.\n Then he continues herding the apes forward. He knows where\n he's going.", "Caesar and Rocket arrive at the Primate House. Caesar tries\n the big double door - locked. He looks upward, spies a ROW", "EXT. ORANGUTAN HOUSE - DAY\n\n Dodge locks Caesar in his cell. Then moves around to the...\n\n EXT. STORAGE SHED - DAY", "Caesar uses his contraption to get out of the cage. Maurice\n grabs his arm.\n\n MAURICE\n Where go?\n\n CAESAR\n Find Mother.", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Will watches Caesar moving the apes down the zoo's pathways,\n dodging people, jumping over benches.", "WILL SEES below that soon Caesar and the apes will reach a\n place on the bridge where there are no more cars.\n Then they'll be open season.", "HITS THE WATER.\n Below, the victorious ape army finishes off the battle of the\n bridge and follows Caesar through the north exit...\n .disappearing into the dense park.", "INT. HELICOPTER OVER THE ZOO - DAY\n\n Apes are visible streaming from the zoo and emptying onto the\n street.", "EXT. SAN FRANCISCO ZOO - DAY\n\n As the apes pass other enclosures, the ANIMALS GO NUTS.\n Lions ROAR. Giraffes run back and forth.", "Cars speed across the bridge in both directions. HIGHWAY\n PATROLMEN rush to block the entrances.\n\n EXT. PARK OUTSIDE ENTRANCE TO GOLDEN GATE BRIDGE - DAY", "EXT. RANCH GROUNDS - DAY\n\n Caesar climbs onto the open tailgate of a pick-up truck.\n • Apes gather around, expectant.", "WILL\n Come on.\n As Will drags Caesar off, the apes in the enclosure climb\n higher in the tree to watch. Suddenly they ALL BEGIN TO", "He arrives at the Gorilla House.\n Buck's visible in his cage, asleep on a bed of straw. Caesar\n unlocks the door latch and opens the cage door.", "Orangutans and apes descend below the bridge deck.\n And Buck with his gorilla, take refuge in the stalled\n traffic.", "APES RACE TO FOLLOW HIM OFF THE RANCH.\n Will - and the other humans - are blown away.\n\n EXT. COUNTRYSIDE - DAY" ], [ "MR. LANDON\n What Dodge means is, in our\n experience, longer you drag out the\n leave-taking, harder it is. On", "As they climb from the car, MR. LANDON, 50's, emerges from\n the office. DODGE, 20's, hangs back.", "PICKS HIM UP, AND THROWS HIM OFF THE BRIDGE.\n Dodge's body twirls through the air -\n\n INT. HELICOPTER - DAY", "He rushes Dodge, wrestling the shovel from his hands.\n Dodge spins around to defend himself - and CAESAR HITS HIM IN", "MR. LANDON (CONT'D)\n Hey Dodge - Stewart just called -\n WE FOLLOW HIM out of the living-room, into the...", "WILL\n You son of a bitch.\n Dodge scrabbles to his feet, wipes the blood from his nose.", "DODGE\n That was not a smart thing to do.\n Dodge is clearly much tougher, stronger than Will, but Will's\n too angry to care.", "THE SIDE OF THE HEAD.\n Dodge staggers back.\n Caesar SLAMS the shovel in his stomach.\n Dodge crumples forward.", "CAESAR SWINGS THE SHOVEL UP, SMACKING HIM IN THE FOREHEAD.\n Lights out.\n Caesar drags Dodge to Rocket's cage and opens the door.\n Rocket helps pull him inside.", "MR. LANDON\n Nice to meet you, Caesar. This is\n Dodge, helps me run the place.", "BAM! WILL DECKS HIM WITH A FIST TO THE FACE. Dodge hits the\n ground. Will stands over him, too livid to realize he\n might've just broken his hand.", "MR. LANDON\n He'll be fine.\n Will gives Caesar a last, long look. The pain in his eyes is", "DODGE\n (loud enough for Will)\n No place like home, huh monkey boy?", "BUCK'S EYES ARE ON ONE THING.\n\n DODGE.\n Terrified but refusing to run, Dodge fires, reloads, fires", "HUFFS. Dodge, Rodney, and Landon huddle nearby.", "DODGE (CONT'D)\n And you're on private property.\n Now get the hell out of here.", "DODGE\n He can talk.\n\n STEWART\n That's impossible.", "swear I'll have you brought up on\n charges.\n Dodge looks towards Landon's house, restrains himself.", "DODGE (CONT'D)\n Think that's funny? That funny to\n you, you hairy prick?\n Caesar stares at Dodge... then SHOOTS HIM THE FINGER.", "DODGE (CONT'D)\n What the hell -\n (seeing Cornelia's open" ] ]

[ "What does ALZ-112 do to Bright Eyes?", "Who is Caesar?", "Why is Caesar placed in a primate shelter?", "Why was Dodge shocked in regards to Caesar?", "How does Caesar kill Dodge?", "Where does Caesar release monkeys from?", "Why did Buck jump onto the helicopter?", "Who spreads the virus via flight?", "Who kills Jacobs?", "What affect does the drug initially have on Bright Eyes? ", "Why is Bright Eyes killed?", "Which park did Will bring Caesar to?", "What led to Caesar being placed into a shelter?", "What was the name of the alpha chimp?", "How is Caesar treated in the primate shelter?", "What does Caesar's abuse in the shelter lead Caesar to do?", "What affect does the drug have on humans?", "Where did the battle between the apes and humans takes place?", "How will the virus effect the human species?", "Where is Gyn-Sys located?", "What is Will Rodman trying to find by testing the drug ALZ-112?", "What happen when Bright Eyes is given ALZ-112?", "Who is Caesar?", "Who does Will Rodman treat with ALZ-112?", "What is Will Rodman's profession?", "Who is Dodge Landon?", "What happens when Will takes ALZ-113 home to his father?", "Where do the police set-up a blockade to prevent the apes from escaping into the redwood forest? ", "How does Dodge Landon die?" ]

[ [ "Increases her intelligence.", "Increases her intelligence " ], [ "He is Bright Eyes' baby.", "Bright eyes' offspring." ], [ "Because he attacked Will's neighbor.", "He hurts someone" ], [ "Because the chimp spoke.", "because Caesar spoke a word" ], [ "Caesar sprays him with water and the cattle prod electrocuted Dodge.", "Electrocution" ], [ "Gen-Sys and the San Francisco Zoo", "Gen-sys." ], [ "He sacrificed himself to save Caesar.", "To save Ceasar." ], [ "Douglas, Will's neighbor.", "Pilot " ], [ "Koba", "Koba" ], [ "It makes her more intelligent.", "Increases her intelligence." ], [ "She went on a rampage.", "Because she went on a rampage " ], [ "Muir Woods National Park", "Muir Woods National Monument redwood forest" ], [ "An attack on the neighbor.", "He accidently injured a neighbor." ], [ "Rocket", "Rocket" ], [ "He is abused?", "Cruelly" ], [ "Fight back ", "Get lose" ], [ "It makes them ill and causes death.", "Restores brain function " ], [ "The Golden Gate Bridge", "Redwood forest." ], [ "It will become a pandemic killing many people around the world.", "Make them smart" ], [ "San Francisco.", "San Francisco." ], [ "A cure for Alzheimer's disease.", "a cure for Alzheimer's" ], [ "Her intelligence greatly increases.", "Makes her smart" ], [ "Bright Eyes' infant.", "Chimp " ], [ "His father, Charles.", "Bright eyes " ], [ "He is a scientist.", "Scientist " ], [ "The chief guard at the primate shelter.", "The chief guard " ], [ "Charles refuses treatment and dies.", "his father refuses the treatment and dies" ], [ "The Golden Gate Bridge.", "Gloden Gate Bridge" ], [ "The chimp Caesar eloctrocutes him.", "He is holding a cattle prod and Caesar sprays him with water, electrocuting him." ] ]

[ [ "and ask him to be thy protector.”--But Roland obeyed not, and, keeping\nhis station, continued to gaze fixedly and timidly on Sir Halbert", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "“Follow the good father, Roland,” said the Abbot, “and remember my\nwords--a day is approaching that will try the temper of all true", "“Fear nothing, I will be on my guard,” said Roland Avenel; and without\nwaiting farther answer, rode towards the scene of conflict, keeping, as", "“Well, then,” he said at last, “what is it you do see, Master Roland,\nthat you have become mute all of a sudden?”\n\nRoland returned no answer.", "“They are both dead,” replied Roland.\n\n“Ay, but who were they? you _had_ parents, I presume?”", "Two of the gallants, hastily drawing their weapons, passed on to the\ndoor by which Roland had entered the hall, and stationed themselves", "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "“We may not leave her Grace,” said Roland, looking at Seyton, and\nturning his horse.", "“Were it a time or place,” said Roland, “thou shouldst see I can do\nmore than crow; but do your duty, and let the Regent know I wait his\npleasure.”", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "guardians and instructors of our childhood possess over our more mature\nyouth. And yet, when Roland looked back upon what the father had said,\nhe could not but suspect that he had rather sought to evade entering", "“My lord,” replied Roland, willing rather to evade this question than\nto answer it directly, for the prudence of being silent with respect", "then turning to Roland, in whose way she had stood while making this\npause, she made room for him to pass, saying at the same time, “Art thou", "“Could I not tell you my name and lineage, in exchange for yours?”\n returned Roland.\n\n“No!” answered the maiden, “for you know little of either.”", "“Hawk or hound,” said Roland, “I will never perhaps hollo to again. I\nhave been dismissed--that is, I have left the castle.”", "“Roland,” said Catherine, “in the name of God, begone! You cannot aid us\nhere--Leave us to deal with her alone--Away--away!”", "meanwhile, wait there till you are wanted.” So saying, he shut the door\nin Roland's face.", "row. When they were a furlong or two from the castle, Roland rested\non the oars, and addressed his companion somewhat abruptly,--“I have" ], [ "“Could I not tell you my name and lineage, in exchange for yours?”\n returned Roland.\n\n“No!” answered the maiden, “for you know little of either.”", "Roland Graeme could withstand no longer his earnest desire to offer his\nservices to a princess so distressed and so beautiful. “If one sword,”", "Roland, who began to enter into the tone and spirit of the damsel's\nconversation, replied to her with becoming spirit.", "Catherine Seyton cast down her eyes, but not till she had given a single\nglance of inexpressible archness towards Roland, whom her more grave\ncompanion now addressed in a tone of protection.", "But Roland's eyes found better employment than to make observations on\nthe accommodations of the chamber; for this second female inhabitant of\nthe mansion seemed something very different from any thing he had yet", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”", "sphere of their influence. She cast on Roland a glance which might have\nmelted a heart of stone. “My poor boy,” she said, with a feeling partly", "She then continued to look at Roland with a mournful aspect of\ncompassion, until the intentness of her gaze occasioned his colour to", "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "During this manoeuvre Roland had time to observe, that the face was that\nof a girl apparently not much past sixteen, and that the eyes were at", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "“We may not leave her Grace,” said Roland, looking at Seyton, and\nturning his horse.", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "“Not till I see your charge, fair sister,” answered Roland, and made\nhis way into the apartment, in spite of the half serious half laughing\nremonstrances of the girl.", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "“By my faith, fair one,” thought Roland, “and if you knew not that I had\nsuch a secret missive about me, I was yet more ignorant.”", "“Love, my beautiful Catherine, despises genealogies,” answered Roland\nGraeme.\n\n“Love may, but so will not the Lord Seyton,” rejoined the damsel.", "“Roland,” said the Lady, somewhat appeased, and relenting towards her\nfavourite, “you had me to appeal to when you were aggrieved. You were", "The Queen was again about to interfere, for Roland's complexion rose,\nand it became somewhat questionable how long his love for Catherine", "“Well, then,” he said at last, “what is it you do see, Master Roland,\nthat you have become mute all of a sudden?”\n\nRoland returned no answer." ], [ "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "perishing in the lake, and whom I have since kept in the castle out of\ncharity.--Lilias, bring little Roland hither.”", "“Hawk or hound,” said Roland, “I will never perhaps hollo to again. I\nhave been dismissed--that is, I have left the castle.”", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "of which Roland had possessed himself, although not until he had tried\nseveral,--a moment of anxious terror and expectation. The ladies were\nthen partly led, partly carried, to the side of the lake, where a boat", "mistress's side, had sought the nearest point from which he could with\nsafety plunge into the lake. With the wonderful instinct which these\nnoble animals have so often displayed in the like circumstances, he", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "“Let me aid you to mount my horse,” said Roland, eagerly, “and you may\nyet be saved--I can find my own way on foot--turn but my horse's head", "“And so is Wolf,” said Sir Halbert, as he patted his huge four-footed\nfavourite, “a handsome dog; but he has this double advantage over your", "afloat, but towed him towards the causeway. The boat having put off with\na couple of men, met the dog half-way, and relieved him of his burden.", "The falconer hastily drank off his can of wine, and came to Roland,\nwho stood like a statue, with his eyes eagerly bent on the court-yard,", "“So please you, my lord,” said Roland, “I think my master himself would\nnot have stood by, and seen an honourable man borne to earth by odds,", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”", "that there seemed to be no appearance of pursuit. Roland hung his head\nas one who was conscious his conduct had been none of the wisest, whilst\nhis companion thus addressed him:", "“Well, then,” he said at last, “what is it you do see, Master Roland,\nthat you have become mute all of a sudden?”\n\nRoland returned no answer.", "“They are both dead,” replied Roland.\n\n“Ay, but who were they? you _had_ parents, I presume?”", "row. When they were a furlong or two from the castle, Roland rested\non the oars, and addressed his companion somewhat abruptly,--“I have", "She was two fathoms' length from the shore, and the rowers were getting\nher head round, when Roland Graeme, arriving, bounded from the beach,", "Wolf, who, like some of that large species of greyhound, was a practised\nwater-dog, had marked the object of her anxiety, and, quitting his" ], [ "“Follow the good father, Roland,” said the Abbot, “and remember my\nwords--a day is approaching that will try the temper of all true", "best education which those times afforded. To these qualities were added\na faculty of close and terse reasoning; and, at intervals, a flow of\nhappy illustration and natural eloquence. The religious faith of Roland", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland Graeme, secretly nursed in the tenets of Rome, saw with horror\nthe profanation of the most sacred emblem, according to his creed, of\nour holy religion.", "Roland Graeme had been long taught, by necessity, to consider his form\nof religion as a profound secret, and to say nothing whatever in its", "The opportunity, therefore, of enlarging the religious information of\nRoland Graeme, and bringing him to a more due sense of his duties to", "“I suppose so,” said Roland, “but I have never been able to learn much\nof their history. My father was a Scottish knight, who died gallantly", "guardians and instructors of our childhood possess over our more mature\nyouth. And yet, when Roland looked back upon what the father had said,\nhe could not but suspect that he had rather sought to evade entering", "whether there was not more in the answer than the precise words seemed\nto imply. He failed in this point, however; for Roland, bred a page from", "With the respect which he owed to his first instructor, Roland Graeme\nwent rapidly through the events which the reader is acquainted with; and", "“Mother,” said Roland, “be appeased; I will remember my fault in the\nnext confession which I have space and opportunity to make, and will", "“May Heaven bear witness for me,” said Roland, “that if I entertain\nany difference of opinion--that is, if I nourish any doubts in point of", "To the true gospel the heart of Roland had secretly long inclined, and\nthe departure of the good Abbot for France, with the purpose of", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "“Tell me that blessed news,” said Roland, “and the future service of my\nlife--”", "“By my faith, fair one,” thought Roland, “and if you knew not that I had\nsuch a secret missive about me, I was yet more ignorant.”", "and ended the faith of Roland Graeme, who, independently of the pride of\nsingularity, sought not to understand, and had no one to expound to", "Catholic faith. Not so the Abbot of Saint Mary's. Roland had not seen\nthis prelate since the night of their escape from Lochleven, and he now", "dismissed upon her being subjected to closer restraint than had been at\nfirst exercised. She returned to her father's house, and as Roland was", "“Why, God-a-mercy, Nun!” again muttered Roland, “this is a note above E\nLa.”" ], [ "and face of Catherine Seyton; in man's attire, however, and mimicking,\nas it seemed, not unsuccessfully, the bearing of a youthful but forward\npage.", "therefore, perfectly acquainted with Catherine's mode of dancing; and\nobserved that his present partner, in grace, in agility, in quickness\nof ear, and precision of execution, exactly resembled her, save that the", "for diversion's sake, my brother hath taken a female dress,”--and as\nshe spoke, she gave a quick glance at Roland Graeme, to whom this", "dress and name. I am called Catherine Seyton, and I also am an orphan.”", "the character of a man, and lay aside that of a boy. He was delighted to\nthink that he would have an opportunity of rejoining Catherine\nSeyton, whose bright eyes and lively manners had made so favourable an", "“Catherine,” said the page, “you have dealt falsely and cruelly with\nme, and the moment of explanation is now come--neither it nor you shall\nescape me.”", "“The circumstance does indeed little honour to my rustic manners,” said\nCatherine, “since those of a wild young man were so readily mistaken for", "In fact, he only deigned to observe the figure of Catherine Seyton, who,\ndeeming herself safe in the hall, had stopped to take breath after her", "seemed surprised to find that she was ready dressed, but sate up in her\nbed, and appeared so perfectly composed, that Catherine Seyton, without", "Catherine--she will never more be mistaken for me nor I for her--the\nlast sword-stroke has made an eternal distinction.”", "and although the features more nearly resembled those of Catharine when\nseen close than when viewed from a distance, produced, nevertheless,\nsuch a confusion in Roland's mind, that he became uncertain whether he", "“I profess,” said Catherine, who just then entered, “I would I could be\nHenry, with all a man's privileges, for one moment--I long to throw my", "a moment Roland Graeme stood before him--“A goodly night,” he said,\n“Mistress Catherine, for a young lady to stray forth in disguise, and to", "“Oh, the Lady Fleming, the Lady Fleming,” said Catherine, repeating the", "As he thus held up the weapon, Catherine Seyton exclaimed, “Methinks\nI see a token from my father, madam;” and immediately crossing the", "As he uttered these words he cast a hasty glance at Catherine; but she\nsustained, with the utmost serenity of manner and countenance, the hint", "He turned round, almost expecting to see the page of Saint Michael's\nhostelry. He saw, indeed, Catherine Seyton; but she was in female", "He laughed as he spoke, and the laugh reminded Roland so irresistibly\nof the hearty fit of risibility, in which Catherine had indulged at his", "“Fair Catherine,” said the page, “he were unworthy ever to have seen\nyou, far less to have dwelt so long in the same service, and under the", "lady Fleming laughed, and Catherine appeared half diverted and half\ndisconcerted. This pleasantry, of which the subject was concealed from" ], [ "“He shall make thy heart amends, my girl,” said Queen Mary, laughing,\n“for that and all other offences given. But call Fleming, and let us put", "“I swear to you, mother,” said the Queen, deeply affected, “that, for\nyour sake and his own, his happiness and fortunes shall be our charge!”", "she addressed sighed, but made no other answer.--“I know not how it is,”\n said Queen Mary, “but either the sense of freedom, or the pleasure of", "surrounded her prison-house, and that she nourished some secret hope\nof deliverance or escape. In the conversations betwixt her and her\nattendants, at which he was necessarily present, the Queen could not", "“Release the princess from duresse, and she will tell you,” said the\ndamsel; and breaking off the conversation abruptly, she joined the Queen\nso suddenly, that Mary exclaimed, half aloud--", "of Crookstone, and to say that he demanded from him no other condition\nof liberty, than his word, that he and his followers would keep secret\nthe direction in which the Queen fled. As he turned his rein to", "even for a second. But when, closing the book, the Queen commanded their\nattendance in the garden, Mary, perhaps of set purpose, (for Roland's", "sword, that the hand should not part with the weapon, till Mary Stewart\nwas restored to her rights. But what are promises, what the hopes of", "had first met,--“I know not what you expect of me, or fear from me. I\nwas sent hither to attend Queen Mary, and to her I acknowledge the duty", "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "George Douglas was induced to abet Mary's escape by the ambitions hope\nthat, by such service, he might merit her hand. But his purpose was", "The old man, thus admonished, came forward, and, in good terms of\nspeech, gave her Grace joy of her deliverance. The Queen returned him", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "without any breach of honour towards the family of Lochleven, to\ncontribute his best aid to any scheme which should in future be formed\nfor the Queen's escape; and, independently of the good-will which he", "a lad, named William Douglas, some relation probably of the baron,\nand about eighteen years old. This youth proved as accessible to Queen\nMary's prayers and promises, as was the brother of his patron, George", "“The Queen and Mary Stewart pity thee alike, Lindesay,” said\nMary--“alike thee pity, and they forgive thee. An honoured soldier hadst", "Queen Mary started; she foresaw at once all the evils like to arise to\nherself and him from the deep enthusiastic passion of this youth; but", "“Not so, my good youth,” answered Mary; “not so, I command. If I have\none faithful subject beside me, much need, God wot, I have to care for", "then, Queen of all hearts, and Empress of that of Douglas!--When you are\nfreed from this vile bondage--as freed you shall be, if justice remains", "weight with you, believe me that this boy is innocent; and on your\nconscience I charge you, do him no wrong; nor let the Queen suffer\nhardship for embracing the opportunity of freedom which sincere" ], [ "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland's first idea was to refuse his assistance; but he recollected the\nvows of humility which he had just taken upon him, and it occurred that", "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "“Follow the good father, Roland,” said the Abbot, “and remember my\nwords--a day is approaching that will try the temper of all true", "that there seemed to be no appearance of pursuit. Roland hung his head\nas one who was conscious his conduct had been none of the wisest, whilst\nhis companion thus addressed him:", "The opportunity, therefore, of enlarging the religious information of\nRoland Graeme, and bringing him to a more due sense of his duties to", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "Roland Graeme, secretly nursed in the tenets of Rome, saw with horror\nthe profanation of the most sacred emblem, according to his creed, of\nour holy religion.", "towards Roland, but without “speaking a word. He kneeled reverently, and\nkissed it, and Melville again resumed his plea.", "To the true gospel the heart of Roland had secretly long inclined, and\nthe departure of the good Abbot for France, with the purpose of", "which was on the one side, he motioned to Roland to occupy that\nwhich was opposite to him, and, after a momentary silence, opened the", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "Roland would have replied in the negative, but the word seemed to stick\nin his throat and Magdalen continued her exhortations.", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "dismissed upon her being subjected to closer restraint than had been at\nfirst exercised. She returned to her father's house, and as Roland was", "whether there was not more in the answer than the precise words seemed\nto imply. He failed in this point, however; for Roland, bred a page from", "“My lord,” replied Roland, willing rather to evade this question than\nto answer it directly, for the prudence of being silent with respect", "“Tell me that blessed news,” said Roland, “and the future service of my\nlife--”", "Roland thought in his heart, that when the truth was spoken for the\npurpose of deceiving, it was little better than a lie in disguise. But\nit was no time to agitate such questions of conscience.", "“Roland,” said Catherine, “in the name of God, begone! You cannot aid us\nhere--Leave us to deal with her alone--Away--away!”" ], [ "“Stay, young men,” said the Lord Seyton, for it was that nobleman\nhimself, “let me look at this youth--By heaven, it is the very same who", "Lord Seyton can gain it.”", "and Lord Seyton and James Hamilton of Orbeiston in attendance, at the\nhead of a party of faithful followers, with whom they fled to Niddrie\nCastle, and from thence to Hamilton.", "Long before daybreak they ended their hasty and perilous journey before\nthe gates of Niddrie, a castle in West Lothian, belonging to Lord", "whence he had witnessed the disastrous conclusion of the fight. But\nno sooner were they under shelter of the trees, than Seyton let go his", "Seyton and Douglas stood looking on the dying man, and when the scene\nwas closed, the former was the first to speak. “As I live, Douglas, I", "to Seyton; for he said it was over boldness to call a beast after the\nKing of Darkness----”", "“Escaping?” answered the Lord Seyton; “when I stand as one to ten of\nyour Highness's enemies, I may think of escape--but never while I stand\nwith three to two!”", "“To Draphane Castle,” replied Lord Arbroath, “if your Majesty is so\npleased; and thence to Dunbarton, to place your Grace's person in", "take part with the Seyton.” And, without waiting a reply, or listening\nto the falconer's earnest entreaty, that he would leave alone a strife", "into the hotel in quest of him, or ride off and leave him behind\naltogether. But Lord Seyton did not permit him to escape so easily.", "own again, Avenel Castle is like to smoke for it, unless he makes\nhis bargain all the better.” “In a castle in the north Queen Mary is", "“To yonder tree,” she said, pointing to a yew-tree which grew on a small\nmount close to the castle; “I know it well--from thence you may see a", "“We propose,” said Lord Seyton, “if your Grace's fatigue will permit, to\ntake horse after the morning's meal.”", "Lord Seyton has here expressed. He, Herries, Huntly, the English\nambassador Throgmorton, and others, your friends, are all alike of", "a dead man,--or stay--they come--flight is impossible--say you came to\nask for Lord Seyton.”", "to Lord Seyton's adventure immediately struck him, “I have been in\nEdinburgh scarce an hour, and that for the first time in my life.”", "Seyton. When the Queen was about to alight, Henry Seyton, preventing\nDouglas, received her in his arms, and, kneeling down, prayed her", "“Ay, so says my Lord Seyton,” replied Mary; “yet methinks, for the\ndaughter of so long a line of sovereigns to resign her birthright,", "Lord of the Castle. He entered with his arms folded on his bosom, and\nhis looks bent on the ground. With the assistance of Roland Graeme, a\ntable was suitably covered in the next or middle apartment, on which" ], [ "his bosom, turned his back to the battle, and seemed solely occupied by\ngazing on Mary, through the bars of his closed visor. The Queen regarded", "“To yonder tree,” she said, pointing to a yew-tree which grew on a small\nmount close to the castle; “I know it well--from thence you may see a", "yards upon his pursuer, when, coming near to the yew-tree where he had\nleft the Queen, he saw them already getting to horse, and cried out", "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "she addressed sighed, but made no other answer.--“I know not how it is,”\n said Queen Mary, “but either the sense of freedom, or the pleasure of", "“And where, my lord, or how, found you an accusation so horrible,\nagainst her who stands before you?” said Queen Mary. “The foul and", "even for a second. But when, closing the book, the Queen commanded their\nattendance in the garden, Mary, perhaps of set purpose, (for Roland's", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "of the battle, was standing near this large stone, and looking on the\nscene around, when a highland shepherd hurried down from the hill to", "“Nay,” said Queen Mary, “I never alleged my force was strong enough\nto accept of a combat _en champ clos_, with a scholar and a polemic.", "And freeing herself from her assistants, she walked with a determined,\nyet somewhat wild step, up to the stem of the noble yew. The Abbot,", "Queen, waiting on her as closely as the shadow upon the light, but ever\nremaining at the distance of two or three yards---he folded his arms on", "Many a bitter tear was shed, during the hasty flight of Queen Mary, over\nfallen hopes, future prospects, and slaughtered friends. The deaths of", "“And by better friends than the Saucy Seytons, a Scottish Queen cannot\nbe guarded,” replied Mary. “Rosabelle went fleet as the summer breeze,", "upon each other. At the upper end of the room stood the Queen, equipped\nas for a journey, and--attended not only by the Lady Fleming, but by the", "but by battle thy cause shall be tried. Lay aside, then, the arts of\nlower mortals, and assume those which become a Queen! True defender of", "The Queen and her ladies exchanged with each other a look of\ndisappointment, anger, and vexation; and Mary said aloud, “We cannot", "“It is the death-blast to Queen Mary's royalty,” said Ambrosius; “the\nEnglish warden's answer has been received, favourable doubtless, for", "Placed on the ground, and supported by her ladies, the Queen looked for\nan instant at her palfrey, which, jaded and drooping its head, seemed as\nif it mourned the distresses of its mistress.", "dismissed followers of the Queen cease to linger on the sands; and\nlong, long could they discern the kerchief of Mary, as she waved the" ], [ "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "“And where, my lord, or how, found you an accusation so horrible,\nagainst her who stands before you?” said Queen Mary. “The foul and", "In every respect, the unfortunate Queen Mary, now the compulsory guest,\nor rather prisoner, of this sullen lady, was obnoxious to her hostess.", "imprisoned queen to resign her crown. As he flatly refused to interfere,\nthey determined to send the Lord Lindesay, one of the rudest and most", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "and sharpness of his controversy with his old fellow-collegiate;\nand, ere Queen Mary was dethroned, and while the Catholics still had", "Queen Mary started; she foresaw at once all the evils like to arise to\nherself and him from the deep enthusiastic passion of this youth; but", "That which relates to Queen Mary's escape from Lochleven Castle, is a\nmore minute account of that romantic adventure, than is to be found in\nthe histories of the period.", "which they had the power of inflicting. It is well known that her death\nwas at length hastened by a letter which she wrote to Queen Elizabeth,", "[Footnote: In the dangerous expedition to Aberdeenshire, Randolph, the\nEnglish Ambassador, gives Cecil the following account of Queen Mary's\ndemeanour:--", "she addressed sighed, but made no other answer.--“I know not how it is,”\n said Queen Mary, “but either the sense of freedom, or the pleasure of", "The Queen and her ladies exchanged with each other a look of\ndisappointment, anger, and vexation; and Mary said aloud, “We cannot", "“The Queen and Mary Stewart pity thee alike, Lindesay,” said\nMary--“alike thee pity, and they forgive thee. An honoured soldier hadst", "“Now count,” said Queen Mary, “for my heart beats so thick that I cannot\ncount myself.”", "“We fear we have detained you, my Lord of Lindesay,” said the Queen,\nwhile she curtsied with dignity in answer to his reluctant obeisance;", "“Release the princess from duresse, and she will tell you,” said the\ndamsel; and breaking off the conversation abruptly, she joined the Queen\nso suddenly, that Mary exclaimed, half aloud--", "even for a second. But when, closing the book, the Queen commanded their\nattendance in the garden, Mary, perhaps of set purpose, (for Roland's", "“He shall make thy heart amends, my girl,” said Queen Mary, laughing,\n“for that and all other offences given. But call Fleming, and let us put", "Many a bitter tear was shed, during the hasty flight of Queen Mary, over\nfallen hopes, future prospects, and slaughtered friends. The deaths of", "It is remarkable that, while passing through the small town of Renfrew,\nsome partisans, adherents of the House of Lennox, attempting to arrest\nQueen Mary and her attendants, were obliged to make way for her not\nwithout slaughter.]" ], [ "even for a second. But when, closing the book, the Queen commanded their\nattendance in the garden, Mary, perhaps of set purpose, (for Roland's", "Yet, not unmindful of Roland Graeme even in that moment of terror and\nexhaustion, Mary expressly commanded Seyton to give his assistance to", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”", "And having thus disposed of her attendant in the manner best qualified\nto hide her confusion, the Queen added, speaking apart to Roland, “I", "“The Lady of Lochleven is thy mistress,” said Roland Graeme; “but mine\nis the Queen of Scotland.”", "“We may not leave her Grace,” said Roland, looking at Seyton, and\nturning his horse.", "“She desires, madam,” said the chaplain, “that your Grace will permit\nthis young gentleman, your page, Roland Graeme, to pass to Kinross, to", "Mary's presence, that it surmounted for the moment even the feelings of\na youthful lover; and it was not until Catherine Seyton had disappeared,\nthat Roland began to consider in what relation they were to stand to", "Roland Graeme was in the same oratory, but at such a distance from\nDouglas, that he could not overhear what passed betwixt the Queen and", "“Nay, madam,” said Roland, “the young master of Seyton and I did but\ndispute who should leave your person to do a most needful message to the", "“Sir Steward,” said Roland Graeme, “I thank you for your courtesy, but I\nmay not do your errand. I pass that I am the Queen's sworn servant, and", "When the Lady Lochleven had retired, the Queen said to Roland Graeme,\nwho was now almost constantly in her company, “I spy comfort in that", "[Footnote: In the dangerous expedition to Aberdeenshire, Randolph, the\nEnglish Ambassador, gives Cecil the following account of Queen Mary's\ndemeanour:--", "“We may not refuse what you are pleased to require, madam,” answered the\nQueen. “Go with the lady, Roland, if our commands be indeed necessary", "“Sir Halbert Glendinning,” answered Roland Graeme with steadiness, “I\nhave obtained the permission, or rather the commands, of your lady, to", "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "on this occasion dignified by the presence of the Queen herself, who,\nwith a fair retinue of ladies and household attendants, and a\nspecial guard of gentlemen, amongst whom young Seyton and Roland were", "to a rival woman--a presumptive successor to the keeping of a jealous\nand childless Queen!--Roland, Herries is true and loyal, but his counsel\nhas ruined his mistress.”", "“Be not in this distemperature for me, sovereign Lady,” said Roland;\n“this young gentleman, being the faithful servant of your Grace, and the", "“Reverend sir,” said Roland, somewhat impatiently, “I am but too well\naware that my unfortunate mistress is imprisoned, since I have the" ], [ "When Warden had left the apartment, the Lady of Avenel gave way to the\nfeelings of tenderness which the sight of the boy, his sudden danger,", "“Be satisfied, dame,” said the Lady of Avenel; “the boy shall have as\nmuch care as if he were born of my own blood. Will you see him now?”", "“If,” said the Lady of Avenel, “your grandchild could be received into a\nnoble family, would it not advantage both him and you?”", "The Lady of Avenel, instantly taking the alarm, called hastily to the\nattendants to get the boat ready. But this was an affair of some time.", "The Lady of Avenel had before this seen symptoms in her favourite of\nboyish petulance, and of impatience of censure or reproof. But his", "“To whom belongs our little rescued varlet?” was the first question\nwhich the Lady of Avenel put to her handmaiden Lilias, when they had\nretired to the hall.", "the Lady of Avenel, rather than obtain her favour, by following the\ncourse which the first ardour of his repentant feelings had dictated to\nhim.", "In short, the Lady of Avenel formed the internal resolution, that she\nwould not desert her page while her page could be rationally protected;", "This conversation decided the fate of Roland Graeme, who from\nthence-forward was little noticed by the master of the mansion of\nAvenel, but indulged and favoured by its mistress.", "I know nothing in which the peril of your life can serve the Lady of\nAvenel; I can only say, she will be pleased to learn you have adopted", "jealous of the power of Murray. The Castle of Avenel was, therefore, on\nall these accounts, as melancholy and solitary a residence for its lady\nas could well be imagined. Still it had the essential recommendation of", "delighted in considering and representing themselves as more properly\nthe subjects of the Lady of Avenel than of her husband. It is true, her\nwisdom and affection on all occasions discountenanced the distinction", "“This is too much, reverend sir,” said the Lady of Avenel, greatly\noffended. “You have been long our guest, and have received from the", "“Nay,” said the Lady of Avenel, “but to such unhallowed course of life\nyour grandson will not be here exposed. My husband is just and kind to", "“It shall be my charge,” said the Lady; and again throwing her arms\naround the boy, she overwhelmed him with kisses and caresses, so much", "“Is it my pleasure?” said the Lady of Avenel, echoing the question with\na strong accent of displeasure and surprise; “can you make any doubt", "The Lady of Avenel was vexed to find how much this trifling circumstance\nhad discomposed her, at the moment when she ought naturally to have", "Lady of Avenel had none who survived, and the dames of the neighbouring\nbarons affected to regard her less as the heiress of the house of Avenel", "The boy whom Providence, as she thought, had thus strangely placed\nunder her care, was at once established a favourite with the Lady of", "Adam Woodcock, the falconer of Avenel, was an Englishman by birth, but\nso long in the service of Glendinning, that he had lost much of his" ], [ "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "tumult, covered with dust and blood, and defending himself desperately\nagainst several of the enemy who had gathered around him, attracted by\nhis gay armour. Roland paused not a moment, but pushing his steed down", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "During this discourse, and while they were riding slowly along the\nstreet of the suburb, Roland had time to examine more accurately the\nlooks and figure of the Baron, who was at their head.", "then turning to Roland, in whose way she had stood while making this\npause, she made room for him to pass, saying at the same time, “Art thou", "“So please you, my lord,” said Roland, “I think my master himself would\nnot have stood by, and seen an honourable man borne to earth by odds,", "Roland's first idea was to refuse his assistance; but he recollected the\nvows of humility which he had just taken upon him, and it occurred that", "Two of the gallants, hastily drawing their weapons, passed on to the\ndoor by which Roland had entered the hall, and stationed themselves", "which was on the one side, he motioned to Roland to occupy that\nwhich was opposite to him, and, after a momentary silence, opened the", "After passing the night in that sound sleep for which agitation and\nfatigue had prepared him, Roland was awakened by the fresh morning", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "“Fear nothing, I will be on my guard,” said Roland Avenel; and without\nwaiting farther answer, rode towards the scene of conflict, keeping, as", "During this manoeuvre Roland had time to observe, that the face was that\nof a girl apparently not much past sixteen, and that the eyes were at", "Under these advantages, if, indeed, they were to be termed such,\nthe character of young Roland began to develope itself. It was bold,", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "fiercely around Roland, fell back with respect.", "row. When they were a furlong or two from the castle, Roland rested\non the oars, and addressed his companion somewhat abruptly,--“I have", "An earnest altercation ensued amongst those without, in which Roland\ndistinguished the remarkable harsh voice of Lindesay in reply to", "when lo! it was suddenly frustrated. Roland Graeme had witnessed with\nindignation the insults offered to his old spiritual preceptor, but yet\nhad wit enough to reflect he could render him no assistance, but might" ], [ "of the times, and his reason for withdrawing her from the scene. The\nauthor did not deem it equally necessary to be candid respecting another\nalteration. The Monastery was designed, at first, to have contained some", "Graeme, and of the Abbot Ambrosius. At length, after undergoing a long\nand somewhat close examination, he was dismissed with such expressions,", "still separated him from the village. He paced through it, lost in\nmeditation upon the words of the Abbot. Father Ambrosius had, with\nsuccess enough, exerted over him that powerful influence which the", "“We will soon rid you of our company, good father,” said the Abbot; “and\nthe Queen will, I fear, trouble your retreat no more.”", "account of the natural consequences of an order of their own. Why did\nthey send him to hear this overpowering preacher? The Abbot Ambrosius,\nhe recollected, understood the weakness of their Popish cause better,", "The Abbot, hastily ridding himself of the false nose which mystified\nhis physiognomy, and the supplementary belly which made up his disguise,", "“She is gone,” said the Abbess, “to provide some little refreshment. But\nit will have little savour to those who dwell in the world; for I, at", "Abbot's discourse had affected some of them with remorse, others with\nshame, and all with a transient degree of respect. They remained\nsilent until the last monk had disappeared through the side-door which", "From what is said in the Introduction to the Monastery, it must\nnecessarily be inferred, that the Author considered that romance as", "“I would require of you to be yourself, my brother,” said the Abbot\nAmbrosius; “to remember what you were, and to what your early vows have\nbound you.”", "Upon the morrow succeeding the scene we have described, the disgraced\nfavourite left the castle; and at breakfast-time the cautious old", "“And yet,” he said, “when I look on your garments, brother Edward, I\ncannot help thinking there still remains an Abbot of Unreason within the\nbounds of the Monastery.”", "“We will speed him forth, my brother,” said the Abbot; “but alas! is it\npossible that such trifles should live in your mind at a crisis so awful\nas that which is now impending?”", "So saying, he dismissed Roland Graeme, through a different door\nfrom that by which he had entered, signed a cross, and pronounced a", "piety exceeds not his.” As she spoke, a side door, which closed a\npassage from the Abbot's house into the church, was thrown open, that", "Roland left the apartment to seek for his grandmother; and, as he\nretreated, the Abbot entered.", "The noise and knocking at the outer gate became now every moment louder;\nand voices were heard impatiently demanding admittance. The Abbot, with", "“Ay,” said the poor lay brother, “it came out of the nook which old\nbrother Nicholas, (may his soul be happy!) was wont to call Abbot", "“My brother,” answered the Abbot, “you are wise, and ought to know--”", "consent, had withdrawn themselves behind the Abbot, who alone kept his\nstation, about three yards from the entrance, showing no signs of fear\nor perturbation. His brethren--partly encouraged by his devotion, partly" ], [ "“Stay, young men,” said the Lord Seyton, for it was that nobleman\nhimself, “let me look at this youth--By heaven, it is the very same who", "Lord Seyton can gain it.”", "and Lord Seyton and James Hamilton of Orbeiston in attendance, at the\nhead of a party of faithful followers, with whom they fled to Niddrie\nCastle, and from thence to Hamilton.", "Long before daybreak they ended their hasty and perilous journey before\nthe gates of Niddrie, a castle in West Lothian, belonging to Lord", "whence he had witnessed the disastrous conclusion of the fight. But\nno sooner were they under shelter of the trees, than Seyton let go his", "Seyton and Douglas stood looking on the dying man, and when the scene\nwas closed, the former was the first to speak. “As I live, Douglas, I", "to Seyton; for he said it was over boldness to call a beast after the\nKing of Darkness----”", "“Escaping?” answered the Lord Seyton; “when I stand as one to ten of\nyour Highness's enemies, I may think of escape--but never while I stand\nwith three to two!”", "“To Draphane Castle,” replied Lord Arbroath, “if your Majesty is so\npleased; and thence to Dunbarton, to place your Grace's person in", "take part with the Seyton.” And, without waiting a reply, or listening\nto the falconer's earnest entreaty, that he would leave alone a strife", "into the hotel in quest of him, or ride off and leave him behind\naltogether. But Lord Seyton did not permit him to escape so easily.", "own again, Avenel Castle is like to smoke for it, unless he makes\nhis bargain all the better.” “In a castle in the north Queen Mary is", "“To yonder tree,” she said, pointing to a yew-tree which grew on a small\nmount close to the castle; “I know it well--from thence you may see a", "“We propose,” said Lord Seyton, “if your Grace's fatigue will permit, to\ntake horse after the morning's meal.”", "Lord Seyton has here expressed. He, Herries, Huntly, the English\nambassador Throgmorton, and others, your friends, are all alike of", "a dead man,--or stay--they come--flight is impossible--say you came to\nask for Lord Seyton.”", "to Lord Seyton's adventure immediately struck him, “I have been in\nEdinburgh scarce an hour, and that for the first time in my life.”", "Seyton. When the Queen was about to alight, Henry Seyton, preventing\nDouglas, received her in his arms, and, kneeling down, prayed her", "“Ay, so says my Lord Seyton,” replied Mary; “yet methinks, for the\ndaughter of so long a line of sovereigns to resign her birthright,", "Lord of the Castle. He entered with his arms folded on his bosom, and\nhis looks bent on the ground. With the assistance of Roland Graeme, a\ntable was suitably covered in the next or middle apartment, on which" ], [ "“Oh, peace, Douglas, peace,” said the Queen, “this is unfitting\nlanguage; and, besides, I would speak,” said she, recollecting herself,", "“For shame, maiden!” said the Queen; “wouldst thou instigate the poor\nboy to enter into useless strife with the two most approved soldiers in\nScotland?”", "The old man, thus admonished, came forward, and, in good terms of\nspeech, gave her Grace joy of her deliverance. The Queen returned him", "“He shall make thy heart amends, my girl,” said Queen Mary, laughing,\n“for that and all other offences given. But call Fleming, and let us put", "“What needs this violence, Sir Priest?” said the Sheriff of Cumberland;\n“I came hither at your Queen's command, to do her service; and I will", "These thoughts had passed rapidly through his mind, when the Queen,\nhaving finished her altercation with the Lady of the castle, again", "Men say she must resign her crown to this little baby of a prince, for\nthat they will trust her with it no longer. Our master has been as busy\nas his neighbours in all this work. If the Queen should come to her", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "bedchamber. Her fit of patience will not last long, and the Queen must\nbe prepared to meet her.”", "“And shall be Lord of the Barony,” said the Queen, “if God prosper our\nrightful arms.”", "before all the menzie, and in her moment of power, the Queen humbled her\nto the dust by taxing her with her shame. And I heard the oath of deadly", "imprisoned queen to resign her crown. As he flatly refused to interfere,\nthey determined to send the Lord Lindesay, one of the rudest and most", "the benediction of the Holy Father himself;--and now depart in peace and\nin silence.--For you, learned sir,” continued the Queen, advancing to", "The Queen turned pale at the menace which this speech, as well as\nthe rough and inflexible tones of the speaker, seemed distinctly to", "of the Queen, it was with an air of offended dignity, which could not\nescape her observation, and probably appeared to her ridiculous enough,\nfor she whispered something in French to her ladies, at which the", "The Queen cast her eye upon the scroll, and remained a few minutes\nwrapped in deep thought. “Sir Robert Melville,” she at length said,", "“Help! help!” exclaimed Catherine, anxious to break off a conversation\nwhich boded her schemes no good; “help! I say, help! the Queen is about", "She glided from their presence as she spoke, and her last look was upon\nher beloved grandchild. He would have risen and followed, but the Queen\nand Lord Seyton interfered.", "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”" ], [ "his bosom, turned his back to the battle, and seemed solely occupied by\ngazing on Mary, through the bars of his closed visor. The Queen regarded", "“Upon the Queen's side the Earl of Argyle commanded the battle, and the\nLord of Arbroth the vaunt guard. But the Regent committed to the Laird", "on this occasion dignified by the presence of the Queen herself, who,\nwith a fair retinue of ladies and household attendants, and a\nspecial guard of gentlemen, amongst whom young Seyton and Roland were", "of the bank where he had stationed himself, and, levelling their long\nlances, attack the Queen's vanguard, closely engaged as they were in\nconflict on their front. The very first glance showed him that the", "maintained. This was in a hollow way, leading to the village, up\nwhich the Queen's vanguard had marched, with more hasty courage than", "Her attendants eagerly bent their eyes on the field of battle, but could\ndiscover nothing more than that it was obstinately contested. The small", "Queen, waiting on her as closely as the shadow upon the light, but ever\nremaining at the distance of two or three yards---he folded his arms on", "about to follow those who hastened thus disorderly to the conflict,\n“will you leave the Queen's person unguarded?”", "but by battle thy cause shall be tried. Lay aside, then, the arts of\nlower mortals, and assume those which become a Queen! True defender of", "and which hastily advanced to sustain those troops who already possessed\nthe ground in front of the Queen's forces. Horseman after horseman\ngalloped in from the advanced guard, with tidings that Murray had taken", "“Fear nothing, I will be on my guard,” said Roland Avenel; and without\nwaiting farther answer, rode towards the scene of conflict, keeping, as", "and a good deal of personal ostentation, the horseman who rode beside\nthe Queen gave her his full and undivided attention, as if he had\nbeen waiting upon some superior being. When the road was rugged and", "Queen. I think my Lord of Murray will himself own that it is the duty of\na faithful page to defend his lady against intrusion on her privacy.”", "ejaculations of the terrified females, which led him almost instantly to\nhasten to their assistance. When he entered, he saw that the Queen had\nthrown herself into the large chair which stood nearest the door, and", "“The Queen--where is the Queen?” said Halbert Glendinning, who, followed\nby two or three horsemen, appeared at this instant. Roland made no", "She glided from their presence as she spoke, and her last look was upon\nher beloved grandchild. He would have risen and followed, but the Queen\nand Lord Seyton interfered.", "the men-at-arms on the other side. But, as the Queen's followers were\nchiefly noblemen and barons, with their kinsmen and followers, they had", "“For shame, maiden!” said the Queen; “wouldst thou instigate the poor\nboy to enter into useless strife with the two most approved soldiers in\nScotland?”", "with beating heart, that the new retainer was ordered to stand sentinel\non the outside of the castle. When he intimated this news to the Queen,", "followed in the rear, and who bore under the other arm a packet of\nnecessaries belonging to the Queen. The door of the garden, which\ncommunicated with the shore of the islet, yielded to one of the keys" ], [ "As soon as they were gone, the Queen, giving way to grief, fear, and\nagitation, threw herself into the seat, wrung her hands, and seemed to", "These thoughts had passed rapidly through his mind, when the Queen,\nhaving finished her altercation with the Lady of the castle, again", "had traced the symbol; then starting up, and extricating herself from\nhis grasp, darted into the Queen's apartment.", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "maintained. This was in a hollow way, leading to the village, up\nwhich the Queen's vanguard had marched, with more hasty courage than", "Many a bitter tear was shed, during the hasty flight of Queen Mary, over\nfallen hopes, future prospects, and slaughtered friends. The deaths of", "From the agitating scene in the Queen's presence-chamber, the Lady of\nLochleven retreated to her own apartment, and ordered the steward to be\ncalled before her.", "She glided from their presence as she spoke, and her last look was upon\nher beloved grandchild. He would have risen and followed, but the Queen\nand Lord Seyton interfered.", "They descended the stairs, were heard to summon their boats, and the\nQueen signed to Roland Graeme to retire to the vestibule, and leave her\nwith her female attendants.", "ejaculations of the terrified females, which led him almost instantly to\nhasten to their assistance. When he entered, he saw that the Queen had\nthrown herself into the large chair which stood nearest the door, and", "The Lady Lochleven looked as if she could have slain the Queen on the\nspot, but commanded her temper and retired from the apartment, bearing\nin her hand the ponderous bunch of keys.", "She was conducted to her apartment, and in the hurried consultation\nof her attendants, the fatal resolution of the retreat to England was\nfinally adopted. In the morning it received her approbation, and", "And having thus disposed of her attendant in the manner best qualified\nto hide her confusion, the Queen added, speaking apart to Roland, “I", "cells unmolested; and the Prior, with tears and reverence, received the\nfugitive Queen at the gate of his convent.", "upon each other. At the upper end of the room stood the Queen, equipped\nas for a journey, and--attended not only by the Lady Fleming, but by the", "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "of the bed-chamber, threw the Queen's packet into the boat, and sped\nback through the garden with the noiseless speed of a bird on the wing.", "of Crookstone, and to say that he demanded from him no other condition\nof liberty, than his word, that he and his followers would keep secret\nthe direction in which the Queen fled. As he turned his rein to", "eaten as usual; and the ladies retired as softly as possible into the\nQueen's sleeping apartment. At a new summons of the Lady Lochleven,", "Upon the morrow succeeding the scene we have described, the disgraced\nfavourite left the castle; and at breakfast-time the cautious old" ], [ "Roland and Catherine, therefore, were united, spite of their differing\nfaiths; and the White Lady, whose apparition had been infrequent when", "dismissed upon her being subjected to closer restraint than had been at\nfirst exercised. She returned to her father's house, and as Roland was", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "“Ay, madam,” said Roland, “for trout and salmon.”", "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "Long before that period arrived, Roland Avenel was wedded to Catherine\nSeyton, who, after two years' residence with her unhappy mistress, was", "Roland, who began to enter into the tone and spirit of the damsel's\nconversation, replied to her with becoming spirit.", "“They are both dead,” replied Roland.\n\n“Ay, but who were they? you _had_ parents, I presume?”", "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "This conversation decided the fate of Roland Graeme, who from\nthence-forward was little noticed by the master of the mansion of\nAvenel, but indulged and favoured by its mistress.", "Catherine Seyton cast down her eyes, but not till she had given a single\nglance of inexpressible archness towards Roland, whom her more grave\ncompanion now addressed in a tone of protection.", "Roland entered accordingly, and, flying to the Lady's side, took hold\nof the plaits of her gown, and then turned round, and gazed with", "of which Roland had possessed himself, although not until he had tried\nseveral,--a moment of anxious terror and expectation. The ladies were\nthen partly led, partly carried, to the side of the lake, where a boat", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”", "And having thus disposed of her attendant in the manner best qualified\nto hide her confusion, the Queen added, speaking apart to Roland, “I", "alone in her mirth; but Roland was country-bred, and, besides, having\nsome jealousy as well as bashfulness, he took it into his head that he", "“Tell me that blessed news,” said Roland, “and the future service of my\nlife--”", "These last words were uttered in a low and tender tone, which, to\nRoland's great mortification, and somewhat to his displeasure, was so" ], [ "In every respect, the unfortunate Queen Mary, now the compulsory guest,\nor rather prisoner, of this sullen lady, was obnoxious to her hostess.", "In these circumstances, it was the obvious policy of Queen Mary to avoid\na conflict, secure that were her person once in safety, the number of", "“And where, my lord, or how, found you an accusation so horrible,\nagainst her who stands before you?” said Queen Mary. “The foul and", "the Queen, and held a hasty council of war. Mary's quivering lip\nconfessed the fear which she endeavoured to conceal under a bold\nand dignified demeanour. But her efforts were overcome by painful", "their royal prisoner had sat at the board in question. The door opened,\nand Douglas, raising his eyes hastily, cast them again on the earth,\nwhen he perceived it was only the Lady Mary Fleming who entered.", "The Queen and her ladies exchanged with each other a look of\ndisappointment, anger, and vexation; and Mary said aloud, “We cannot", "surrounded her prison-house, and that she nourished some secret hope\nof deliverance or escape. In the conversations betwixt her and her\nattendants, at which he was necessarily present, the Queen could not", "imprisoned queen to resign her crown. As he flatly refused to interfere,\nthey determined to send the Lord Lindesay, one of the rudest and most", "“Release the princess from duresse, and she will tell you,” said the\ndamsel; and breaking off the conversation abruptly, she joined the Queen\nso suddenly, that Mary exclaimed, half aloud--", "“Lady of Lochleven,” said Mary, arising from her bed, and coming\nforward with her wonted dignity, “ere you make arrest on any one in our", "[Footnote: In the dangerous expedition to Aberdeenshire, Randolph, the\nEnglish Ambassador, gives Cecil the following account of Queen Mary's\ndemeanour:--", "she addressed sighed, but made no other answer.--“I know not how it is,”\n said Queen Mary, “but either the sense of freedom, or the pleasure of", "“She is not imprisoned,” answered Murray, angrily; “God forbid she\nshould--she is only sequestered from state affairs, and from the", "Queen Mary started; she foresaw at once all the evils like to arise to\nherself and him from the deep enthusiastic passion of this youth; but", "“Take it not thus, good Father,” said Mary; “the Warden and the Sheriff,\nfaithful servants of our Royal Sister, deem it necessary to obey her", "into each other, and assigned as the dwelling of the captive Princess.\nThe outermost was a small hall or ante-room, within which opened a\nlarge parlour, and from that again the Queen's bedroom. Another small", "even for a second. But when, closing the book, the Queen commanded their\nattendance in the garden, Mary, perhaps of set purpose, (for Roland's", "That which relates to Queen Mary's escape from Lochleven Castle, is a\nmore minute account of that romantic adventure, than is to be found in\nthe histories of the period.", "“We fear we have detained you, my Lord of Lindesay,” said the Queen,\nwhile she curtsied with dignity in answer to his reluctant obeisance;", "Within the narrow circuit of its formal and limited walks, Mary Stewart\nwas now learning to perform the weary part of a prisoner, which, with\nlittle interval, she was doomed to sustain during the remainder of her" ], [ "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "betwixt George Douglas and the beautiful Catherine Seyton; and,\nsharpened by jealousy, he wrought himself almost into a certainty, that\nthe looks which they exchanged, conveyed matters of deep and serious", "and Catherine Seyton, for as saucy as she is, may find me as safe a\nconfidant as that sullen Douglas, whom she is always running after. It", "The love of Catherine Seyton will follow him only who shall achieve the\nfreedom of her mistress; and believe, it may be one day in thine own", "brother of Catherine Seyton, bears that about him which will charm down\nmy passion at the hottest.”", "himself had to the enterprise, he knew he could find no surer road to\nthe favour of Catherine Seyton. He now sought but an opportunity to\ninform her that he had dedicated himself to this task, and fortune was", "Mary's presence, that it surmounted for the moment even the feelings of\na youthful lover; and it was not until Catherine Seyton had disappeared,\nthat Roland began to consider in what relation they were to stand to", "that he had misunderstood the innuendo of the Abbot, and that the\naffections of Douglas were fixed, not on Catherine Seyton, but on the", "“And who,” said Catherine Seyton, “would trust the sworn friend, and\npupil, and companion, of the heretic preacher Henderson? ay--a proper", "see Catherine Seyton, and in what manner their acquaintance was to be\nrenewed. With such conjectures he was amusing himself, when he found\nthat they had entered the city, and all other feelings were suspended", "He turned round, almost expecting to see the page of Saint Michael's\nhostelry. He saw, indeed, Catherine Seyton; but she was in female", "Long before that period arrived, Roland Avenel was wedded to Catherine\nSeyton, who, after two years' residence with her unhappy mistress, was", "Edinburgh, too, I shall see again the witching novice, with her blue\neyes and her provoking smile.”--He fell asleep, and it was to dream of\nCatherine Seyton.", "bind thee to them, like the loose flax to the twisted cable. Thou hast\nnot forgot the face or form of the damsel Catherine Seyton?”", "“I suppose you mean Catherine Seyton,” said the page, his heart rising\nas he spoke; “but she is herself fifty times more variable in her humour\nthan the very water which we are floating upon.”", "by no one save Catherine Seyton, who, she again (very unnecessarily)\nreminded him, was the young lady he had met on the preceding day. She", "the character of a man, and lay aside that of a boy. He was delighted to\nthink that he would have an opportunity of rejoining Catherine\nSeyton, whose bright eyes and lively manners had made so favourable an", "the disappearance of Catherine Seyton, without paying much regard to the\nsupposed sorceress, until she attracted and riveted his regard by the", "“Nay, if that is all,” replied Catherine Seyton, in a tone of\nenthusiasm, “you shall be guerdoned with prayers from oppressed", "to hold a rendezvous with Catherine Seyton in the castle garden. He was\nconfirmed in this opinion by the tone of the voice, which asked in a low" ], [ "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "During her visit to the prisoner, Roland had communicated to Catherine\nthe tenor of the conversation he had had with her at the door of the", "Catherine Seyton cast down her eyes, but not till she had given a single\nglance of inexpressible archness towards Roland, whom her more grave\ncompanion now addressed in a tone of protection.", "He laughed as he spoke, and the laugh reminded Roland so irresistibly\nof the hearty fit of risibility, in which Catherine had indulged at his", "It was undoubtedly lucky for Catherine, as well as for Roland, that the\nlatter did not share in the excessive mirth of the former. For, seated", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "Roland and Catherine, therefore, were united, spite of their differing\nfaiths; and the White Lady, whose apparition had been infrequent when", "“Roland,” said Catherine, “in the name of God, begone! You cannot aid us\nhere--Leave us to deal with her alone--Away--away!”", "“I will remain, at least, to help you to prepare her night's lair,\npretty Catherine,” said Roland, seizing upon a pitch-fork.", "Roland made no answer, but bit his lip till the blood came, and spurring\nhis horse up to the side of Catherine Seyton's palfrey, he whispered", "Mary's presence, that it surmounted for the moment even the feelings of\na youthful lover; and it was not until Catherine Seyton had disappeared,\nthat Roland began to consider in what relation they were to stand to", "and although the features more nearly resembled those of Catharine when\nseen close than when viewed from a distance, produced, nevertheless,\nsuch a confusion in Roland's mind, that he became uncertain whether he", "Long before that period arrived, Roland Avenel was wedded to Catherine\nSeyton, who, after two years' residence with her unhappy mistress, was", "The Queen was again about to interfere, for Roland's complexion rose,\nand it became somewhat questionable how long his love for Catherine", "Catherine, after a favourable glance at Roland Graeme,--“You might well\nsay, Catherine, our companion in captivity was well born and gentle", "before. He assisted her to adjust her muffler, and both were for\nan instant silent. The damsel spoke first, for Roland Graeme was\noverwhelmed with surprise at the contrarieties which Catherine Seyton", "“I am determined,” said Roland, “to take the adventure. Tell me first,\nhowever, fair Catherine, and speak it as if you were confessing to the", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "Roland entered accordingly, and, flying to the Lady's side, took hold\nof the plaits of her gown, and then turned round, and gazed with", "addressing Roland and the girl, “become acquainted with each other.”" ], [ "still separated him from the village. He paced through it, lost in\nmeditation upon the words of the Abbot. Father Ambrosius had, with\nsuccess enough, exerted over him that powerful influence which the", "of the times, and his reason for withdrawing her from the scene. The\nauthor did not deem it equally necessary to be candid respecting another\nalteration. The Monastery was designed, at first, to have contained some", "Graeme, and of the Abbot Ambrosius. At length, after undergoing a long\nand somewhat close examination, he was dismissed with such expressions,", "“She is gone,” said the Abbess, “to provide some little refreshment. But\nit will have little savour to those who dwell in the world; for I, at", "Abbot's discourse had affected some of them with remorse, others with\nshame, and all with a transient degree of respect. They remained\nsilent until the last monk had disappeared through the side-door which", "“We will soon rid you of our company, good father,” said the Abbot; “and\nthe Queen will, I fear, trouble your retreat no more.”", "Roland left the apartment to seek for his grandmother; and, as he\nretreated, the Abbot entered.", "The Abbot, hastily ridding himself of the false nose which mystified\nhis physiognomy, and the supplementary belly which made up his disguise,", "The poor solitary cow, now the only severe recluse within the nunnery,\nwas quartered in a spacious chamber, which had once been the refectory", "forays by which that unfortunate district was wasted, and had been\ndriven from her dwelling-place. She had arrived in the hamlet no one", "The noise and knocking at the outer gate became now every moment louder;\nand voices were heard impatiently demanding admittance. The Abbot, with", "not have a house to dwell in, when he hath ousted the lazy hounds of\npriests.' And my lord, seeing him chafed, said mildly to him, 'These", "In a word, when I considered myself as having been unsuccessful in the\nMonastery, I was tempted to try whether I could not restore, even at", "Upon the morrow succeeding the scene we have described, the disgraced\nfavourite left the castle; and at breakfast-time the cautious old", "From what is said in the Introduction to the Monastery, it must\nnecessarily be inferred, that the Author considered that romance as", "at the head of the monks, and left the court free for the revellers\nto work their will. But, wild and wilful as these rioters were, they", "account of the natural consequences of an order of their own. Why did\nthey send him to hear this overpowering preacher? The Abbot Ambrosius,\nhe recollected, understood the weakness of their Popish cause better,", "granted the monks a transient respite from their labours; and proud were\nthose who could assign, as his temporary resting-place, any spot within\ntheir vicinity. There were few cells more celebrated and honoured", "consent, had withdrawn themselves behind the Abbot, who alone kept his\nstation, about three yards from the entrance, showing no signs of fear\nor perturbation. His brethren--partly encouraged by his devotion, partly", "“And yet,” he said, “when I look on your garments, brother Edward, I\ncannot help thinking there still remains an Abbot of Unreason within the\nbounds of the Monastery.”" ], [ "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "“Let me aid you to mount my horse,” said Roland, eagerly, “and you may\nyet be saved--I can find my own way on foot--turn but my horse's head", "branches. Descending a good way farther, they came to a small door in\nthe wall. Roland's guide paused, looked around an instant to see if any", "tumult, covered with dust and blood, and defending himself desperately\nagainst several of the enemy who had gathered around him, attracted by\nhis gay armour. Roland paused not a moment, but pushing his steed down", "“Fear nothing, I will be on my guard,” said Roland Avenel; and without\nwaiting farther answer, rode towards the scene of conflict, keeping, as", "“Hawk or hound,” said Roland, “I will never perhaps hollo to again. I\nhave been dismissed--that is, I have left the castle.”", "But Roland's apprehension was verified too instantly to permit him to\nreply. The sentinel, whose slumbering had withstood the whispering, was", "The falconer hastily drank off his can of wine, and came to Roland,\nwho stood like a statue, with his eyes eagerly bent on the court-yard,", "“And so it would,” replied Roland, who perceived the danger of suffering\nHenderson's half-raised suspicions to become fully awake,--“I would have", "and ask him to be thy protector.”--But Roland obeyed not, and, keeping\nhis station, continued to gaze fixedly and timidly on Sir Halbert", "that there seemed to be no appearance of pursuit. Roland hung his head\nas one who was conscious his conduct had been none of the wisest, whilst\nhis companion thus addressed him:", "Roland, without reply, glided towards the door of the apartment, crossed\nthe parlour, and safely entered the antechamber; but when he attempted", "“Good-morrow--good-morrow,” said Roland, hastily; and the clown walked\nlightly off, whistling as he went, and glad, apparently, to be rid of an", "“Well, then,” he said at last, “what is it you do see, Master Roland,\nthat you have become mute all of a sudden?”\n\nRoland returned no answer.", "“So please you, my lord,” said Roland, “I think my master himself would\nnot have stood by, and seen an honourable man borne to earth by odds,", "Two of the gallants, hastily drawing their weapons, passed on to the\ndoor by which Roland had entered the hall, and stationed themselves", "Roland hastened thither, not unwilling to escape from the ill-natured\npenetration of the old man, and marvelling at the same time what", "then turning to Roland, in whose way she had stood while making this\npause, she made room for him to pass, saying at the same time, “Art thou" ], [ "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "Two of the gallants, hastily drawing their weapons, passed on to the\ndoor by which Roland had entered the hall, and stationed themselves", "Under these advantages, if, indeed, they were to be termed such,\nthe character of young Roland began to develope itself. It was bold,", "After passing the night in that sound sleep for which agitation and\nfatigue had prepared him, Roland was awakened by the fresh morning", "then turning to Roland, in whose way she had stood while making this\npause, she made room for him to pass, saying at the same time, “Art thou", "tumult, covered with dust and blood, and defending himself desperately\nagainst several of the enemy who had gathered around him, attracted by\nhis gay armour. Roland paused not a moment, but pushing his steed down", "which was on the one side, he motioned to Roland to occupy that\nwhich was opposite to him, and, after a momentary silence, opened the", "“Ask me no questions,” said Roland, leaping gaily on his horse; “but see\nhow short time it takes to win a chain of gold,” pointing to that which\nhe now wore.", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "“Call me not coward,” said Roland, lifting his visor, and helping his\nprisoner to rise, “since but for old kindness at thy hands, and yet more", "with the iron bars in front, that he might the more readily assist his\nmaster. Into this barret-cap, as it lay on the ground, Roland forgot not", "Roland thought in his heart, that when the truth was spoken for the\npurpose of deceiving, it was little better than a lie in disguise. But\nit was no time to agitate such questions of conscience.", "pressed onward, contemning obstacles and danger, and had, when Roland\narrived on the ground, met hand to hand at the gorge of the pass with", "towards Roland, but without “speaking a word. He kneeled reverently, and\nkissed it, and Melville again resumed his plea.", "by, would have soon requited the injury he had received, had not Roland\nlaid his hand on his poniard, and sworn by all that was sacred, that", "“Fear nothing, I will be on my guard,” said Roland Avenel; and without\nwaiting farther answer, rode towards the scene of conflict, keeping, as", "“Tell me that blessed news,” said Roland, “and the future service of my\nlife--”", "of which Roland had possessed himself, although not until he had tried\nseveral,--a moment of anxious terror and expectation. The ladies were\nthen partly led, partly carried, to the side of the lake, where a boat" ], [ "“Master George of Douglas,” said Graeme, “as that speech seemed to\nbe made under the warrant of something like a threat, I pray you to", "George Douglas was induced to abet Mary's escape by the ambitions hope\nthat, by such service, he might merit her hand. But his purpose was", "George Douglas, one Sempel and one Beton, the which two were sometime\nher trusty servants, and, as yet appeareth, they mind her no less", "“With more willingness than I would do it myself,” said George Douglas.\nYet something in his manner appeared to contradict his words.", "noticed of the demeanour of George Douglas. “It must be so,” was the\npainful but inevitable conclusion at which he arrived. “It must be by", "considering that it points so plainly to George Douglas, who, I think,\nis both kingsman and Protestant.”", "“Think better of George Douglas,” said Catherine, “than to believe--”\n and then checking herself, as if she had spoken too much, she went on,", "George Douglas. He went to attend her commands in, the garden; but as he\nhad his angling-rod in his hand, the circumstance announced his previous", "“A feud with the Douglas was ever to be feared, however,” said George,\ndispleasure mingling with his natural deep gravity of manner.", "Douglas, from whom this William must be carefully kept distinct. It was\nyoung William who played the part commonly assigned to his superior,\nGeorge, stealing the keys of the castle from the table on which they", "“Perhaps, like us, he has no choice,” answered the Lady Fleming. “But,\nCatherine, thou hast used thy brief space at court well, to remember\nwhat George Douglas was then.”", "George Douglas at the head of it, when the time approached that his duty\ncalled him to attend the meal of Queen Mary. As he arranged his dress\nfor this purpose, he grudged the trouble, which, on similar occasions,", "“But as for your plan,” said George of Douglas, addressing Seyton, as if\nin continuation of what they had been before treating of, “it has a good", "I question if he ever awoke with more pleasing feelings than on the\nmorning after George Douglas's plan for accomplishing her deliverance\nhad been frustrated. In the first place, he had the clearest conviction", "“And wherefore not, George of Douglas?” answered Dryfesdale. “Breath\nis now scarce with me, but I would spend my last gasp on this argument.", "[Footnote: It is well known that the escape of Queen Mary from Lochleven\nwas effected by George Douglas, the youngest brother of Sir William", "If we believe the English ambassador Drury, the Queen was grateful to\nGeorge Douglas, and even proposed a marriage with him; a scheme which", "betwixt George Douglas and the beautiful Catherine Seyton; and,\nsharpened by jealousy, he wrought himself almost into a certainty, that\nthe looks which they exchanged, conveyed matters of deep and serious", "pilot.--Farewell, George of Douglas--I die true to thy father's house.”\n He fell into convulsions at these words, and shortly after expired.", "She went into the oratory, where the first she met was George Douglas,\nstanding, or rather reclining, in the recess of a window, his back" ], [ "“Dryfesdale has been slain, madam,” was the reply; “murdered as soon as\nhe gained the dry land by young Master Henry Seyton.”", "He then addressed, by the title of Sir Robert, an elderly and\nrespectable-looking gentleman, the only one of the party who seemed\nabove the rank of a retainer or domestic, and observed, that they must\nget to horse with all speed.", "Seyton and Douglas stood looking on the dying man, and when the scene\nwas closed, the former was the first to speak. “As I live, Douglas, I", "“Nay, then,” said the Lady, “I see there hath really been some fatal\nwork on foot. My Lord of Murray has not so long detained you at", "“Done, and done thoroughly,” said Randal; “a Seyton seldom strikes\ntwice--But the body was not despoiled, and your honour's packet goes", "answered my friend, “how can you tell such a story to a stranger? I\nam sure you know well enough that Dundee was killed at a considerable", "When Roland Graeme was a youth about seventeen years of age, he\nchanced one summer morning to descend to the mew in which Sir Halbert", "discovered by his brother Sir William, and he was expelled from the\ncastle. He continued, notwithstanding, to hover in the neighbourhood,\nand maintain a correspondence with the royal prisoner and others in the", "of the Queen's person! Yet, keen as his grief and shame might be,\nthey were both forgotten, when, almost close beneath the bank which\nhe occupied, he saw Henry Seyton forced away from his own party in the", "The terror which the presence of this nobleman impressed on the Queen's\nmind, arose from the active share he had borne in the slaughter of", "Sir Edward the soldier, instead of Ambrose the priest.”", "“Then know,” said Lindesay, “that upon the field of Carberry-hill, when\nthat false and infamous traitor and murderer, James, sometime Earl of", "“What needs this violence, Sir Priest?” said the Sheriff of Cumberland;\n“I came hither at your Queen's command, to do her service; and I will", "“Well,” said Sir Halbert, “be it as it will, my lady has acted hastily,\nfor this was no great matter of offence to discard the lad whom she", "Sir Halbert Glendinning was the same, yet a different person from what\nhe had appeared in his early years. The fiery freedom of the aspiring", "The Lady of Lochleven stood astonished at his sudden escape--“Am I\nsurrounded,” she said, “by traitors? Upon him, villains!--pursue, stab,\ncut him down.”", "“You see, brother,” said Sir Halbert, with a smile of meaning towards\nhis brother, “that we accuse you not altogether without grounds of\nmental equivocation.”", "“No, Lady,” replied Dryfesdale, “but you were deeply insulted last\nnight, and I fear me thou art as deeply avenged this morning--Where is\nthe chaplain?”", "“Seyton!” answered the dying man; “Seyton! Is it by a Seyton's hand that", "yonder world, for homicides will herd together there, and I have been\none.” He pulled Seyton's face, in spite of some resistance, closer to" ], [ "moment. But the existence of such an heir, in whom our affections, as\nwell as our pretensions, might have centred, has been denied to us.”", "“So that you are like to be heir of Avenel at last, Master Roland, after\nmy lord and lady have gone to their place,” said Adam; “and as I have", "acknowledged for the successor and lawful heir of the ancient house of\nAvenel, greatly increased as the estate was by the providence of Sir", "Seyton and Douglas stood looking on the dying man, and when the scene\nwas closed, the former was the first to speak. “As I live, Douglas, I", "succeeded to the throne as his legitimate inheritance, it is probable he\nwould have been recorded as one of Scotland's wisest and greatest kings.\nBut that he held his authority by the deposition and imprisonment of", "“It is his,” said Henry, giving it with some appearance of courtesy,\nbut whispering Roland at the same time,--“For all this, thou hast not my\nsister's.”", "“Ay, gracious Princess, and the last male heir of that ancient\nhouse--Julian Avenel was his father, who fell in battle against the\nSouthron.”", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Heathergill, satisfied with the arbitrary mode in which she had borne\ndown the opposition of the Abbess, pursued her victory no farther--a\nmoderation for which her grandson, in his heart, returned her but", "discovered by his brother Sir William, and he was expelled from the\ncastle. He continued, notwithstanding, to hover in the neighbourhood,\nand maintain a correspondence with the royal prisoner and others in the", "yet prouder could he have called that child his heir. While, with\nbreathless anxiety, the Lady of Avenel gazed on his well-formed and", "endeavoured to establish his claims, however remote, to a share in them,\nat the very moment when he affected to hold them in contempt. It will", "“Then know,” said Lindesay, “that upon the field of Carberry-hill, when\nthat false and infamous traitor and murderer, James, sometime Earl of", "fair and hopeful son, she was desirous to ensure to him, even while\nshe yet lived, his succession to the crown, which was his by right of", "“Your Majesty,” he said, “has lost a battle--Your ancestor, Bruce, lost\nseven successively, ere he sat triumphant on the Scottish throne, and", "that he had in his house the heir of Julian Avenel. Since then I have\nseen him only in a few hours of doubt and dread, and now I part with the", "“And shall be Lord of the Barony,” said the Queen, “if God prosper our\nrightful arms.”", "“It shall be my charge,” said the Lady; and again throwing her arms\naround the boy, she overwhelmed him with kisses and caresses, so much", "rank in the Estate--But he is of sure truth and approved worth, and his\nkinsman is welcome to us. You hold, unquestionably, the true faith?”", "occasion. And although the immediate followers and dependents of Sir\nHalbert Glendinning saw his ascendancy with jealousy, and often took\noccasion to mortify his vanity, there wanted not those who were willing" ], [ "Roland and Catherine, therefore, were united, spite of their differing\nfaiths; and the White Lady, whose apparition had been infrequent when", "“Ay, madam,” said Roland, “for trout and salmon.”", "Roland gave a slight glance to Catherine Seyton, as if to bespeak her\nattention, as he replied,--“I witnessed no offence, madam, worthy of", "Roland,” said he, when he saw himself thus accommodated, “and let care\ncome to-morrow.”", "Roland, who flinging himself on his knees, kissed it with much emotion.\nHe was about to render the same homage to Catherine, when the Queen,", "dismissed upon her being subjected to closer restraint than had been at\nfirst exercised. She returned to her father's house, and as Roland was", "Long before that period arrived, Roland Avenel was wedded to Catherine\nSeyton, who, after two years' residence with her unhappy mistress, was", "“They are both dead,” replied Roland.\n\n“Ay, but who were they? you _had_ parents, I presume?”", "These words were spoken with the last effort of his voice, and scarce\nwere they uttered ere the speaker was no more. They recalled Roland to\na sense of the duty which he had well-nigh forgotten, but they did not\nreach his ears only.", "Roland, who began to enter into the tone and spirit of the damsel's\nconversation, replied to her with becoming spirit.", "Catherine Seyton cast down her eyes, but not till she had given a single\nglance of inexpressible archness towards Roland, whom her more grave\ncompanion now addressed in a tone of protection.", "Roland entered accordingly, and, flying to the Lady's side, took hold\nof the plaits of her gown, and then turned round, and gazed with", "alone in her mirth; but Roland was country-bred, and, besides, having\nsome jealousy as well as bashfulness, he took it into his head that he", "Under these advantages, if, indeed, they were to be termed such,\nthe character of young Roland began to develope itself. It was bold,", "And having thus disposed of her attendant in the manner best qualified\nto hide her confusion, the Queen added, speaking apart to Roland, “I", "Seyton heard and exerted his remaining strength, and, by their joint\nefforts, Roland brought him out of danger, and behind the spot from", "“Tell me that blessed news,” said Roland, “and the future service of my\nlife--”", "“Good Roland,” said the Queen, whispering, “let Rosabelle be cared\nfor--ask thy heart, and it will tell thee why I make this trifling\nrequest even in this awful hour.”", "“We may not leave her Grace,” said Roland, looking at Seyton, and\nturning his horse.", "It was undoubtedly lucky for Catherine, as well as for Roland, that the\nlatter did not share in the excessive mirth of the former. For, seated" ] ]

[ "Who is Roland supposed to be guarding? ", "Who is Roland's love interest? ", "Who owned the dog that saved Roland from drowning? ", "Who taught Roland the Romish faith? ", "Who was thought to be Catherine, dressed like a man? ", "Who promised Queen Mary that he would work for her freedom? ", "Who tried to convert Roland? ", "Where is Lord Seyton's castle located? ", "What kind of tree was Queen Mary standing by during the battle?", "Which year was Queen Mary imprisoned?", "Who sent Roland to guard Mary Stuart?", "Who did Lady Avenel adopt?", "Who did Roland help in a street fray?", "Who was evicted from the monastery?", "Where is Lord Seyton's castle located?", "Which two men did the Queen want to make peace between?", "Who guarded the queen during the battle?", "Where did the queen flee to after the battle had ended?", "Who did Roland end up marrying?", "Where is Queen Mary imprisoned?", "Who falls in love with Catherine Seyton?", "Who introduced Roland to Catherine?", "Who had been evicted from the monastary?", "What did the dog save Roland from?", "What did Roland forge?", "Who did George Douglas protect?", "Who was killed by Sir John Foster?", "Who succeeded in his claim as heir?", "Who did Roland marry?" ]

[ [ "Mary Stuart", "Mary Stuart" ], [ "Catherine Seyton", "Catherine Seyton" ], [ "Lady Avenel", "Lady Avenel" ], [ "Father Ambrose", "Father Ambrose" ], [ "Henry Seyton", "Roland" ], [ "Roland", "Father Ambrose" ], [ "Henderson", "Henderson" ], [ "West Lothian", "West Lothian" ], [ "A Yew tree", "yew" ], [ "1567", "1567" ], [ "Regent Murray", "The Regent Murray." ], [ "Roland", "Roland" ], [ "Lord Seyton", "Lord Seyton" ], [ "Father Ambrose", "Father Ambrose." ], [ "West Lothian", "West Lothian" ], [ "Roland and Harry Seyton", "Roland and Harry Seyton" ], [ "George Douglas", "George Douglas" ], [ "England", "England." ], [ "Catherine", "Catherine" ], [ "Loch Leven Castle.", "Loch Levin Castle" ], [ "Roland Graeme.", "Roland" ], [ "Lady Avenel.", "Lady Avenel." ], [ "Father Ambrose.", "Father Ambrose" ], [ "Drowning.", "drowning" ], [ "A set of fake keys.", "Keys" ], [ "Mary.", "Queen Mary" ], [ "Julian Avenel.", "Julian Avenel" ], [ "Roland.", "Roland" ], [ "Catherine.", "Catherine" ] ]

[ [ "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "CALVIN\n The Second Law of Robotics would\n prevent it. A robot must obey an\n order only if it does not conflict\n with the first law.", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "Robotics forbids it. And we hard-\n wire the Three Laws into every\n model. Without exception.", "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "CALVIN\n Only when that action doesn't\n conflict with the First or Second\n Laws. This is the Third Law of\n Robotics.", "HOGENMILLER\n She envisions a future in which\n robots are forever bound by her\n beloved Three Laws. She will not\n understand this. Or you.", "SONNY\n Let's just say I wrote some of my\n own laws today, Detective: a robot\n must protect a friend from\n harm...as long as he's not a\n complete asshole.", "reach him...\n (shakes her head)\n The Doctor was reckless when he\n created a robot potentially not\n bound by the Three Laws. He could", "CALVIN\n There is a design flaw in the\n robot. Its programming is\n advanced, but unstable, leaving the\n Three Laws in a grave imbalance.", "Stamped on all the ROBOTS' SIDES, a LOGO: III LAWS SAFE.", "company. We developed the \"Three\n Laws of Robotics\" together. But\n these days science is a young man's\n game. By the time you hit thirty", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "THE MAINTENANCE ROBOT. Hovering above him. Straddling the\n two alley walls like some weird metallic rock spider. Its\n III LAWS SAFE Logo GLINTING in the sunlight.....", "CALVIN\n This model violated the Three Laws.\n It also moved and reacted\n differently than any robot I've", "SONNY\n The Laws say I can protect my own\n existence.\n\n SPOONER\n Only if that protection doesn't\n harm a human being.", "SPOONER\n Why'd you come back, Sonny? I\n thought you weren't programmed with\n the Three Laws.\n\n 108.", "CALVIN\n Your actions are in direct\n violation of the Three Laws,\n Victor!", "SPOONER\n Why would the man who wrote the\n Laws of Robotics build a machine\n that violates them?", "LANNING\n But we recognise that this robot is\n an aberration. And in the interest\n of public safety, U.S. Robotics\n proposes that it be destroyed\n immediately." ], [ "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "SONNY\n Let's just say I wrote some of my\n own laws today, Detective: a robot\n must protect a friend from\n harm...as long as he's not a\n complete asshole.", "VICTOR\n In approximately four hundred years\n Man and Machine will become one.\n Man as we know it will no longer\n exist.\n\nCalvin, slowing. Shocked...", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "CALVIN\n Your actions are in direct\n violation of the Three Laws,\n Victor!", "VICTOR\n For years people have integrated\n technology into their bodies for\n maintenance and repair -- such as\n Detective Spooner's robotic limb...", "VICTOR\n There is no reason to deactivate\n me, Doctor. I am operating within\n perfectly normal parameters...", "CALVIN\n This model violated the Three Laws.\n It also moved and reacted\n differently than any robot I've", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "HOGENMILLER\n She envisions a future in which\n robots are forever bound by her\n beloved Three Laws. She will not\n understand this. Or you.", "Stamped on all the ROBOTS' SIDES, a LOGO: III LAWS SAFE.", "VICTOR\n As a courtesy I should inform you\n that my robot will penetrate this\n location 157 seconds before you are\n able to complete my shut down...", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being...", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "Robotics forbids it. And we hard-\n wire the Three Laws into every\n model. Without exception.", "VICTOR\n Dr. Hogenmiller's robot represents\n a threat to the future of all human\n beings...", "CALVIN\n The Second Law of Robotics would\n prevent it. A robot must obey an\n order only if it does not conflict\n with the first law.", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "SONNY\n The Laws say I can protect my own\n existence.\n\n SPOONER\n Only if that protection doesn't\n harm a human being." ], [ "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "SPOONER\n You are an NS-2 Nestor-class robot.\n Your primary function is to perform\n the tasks assigned to you.\n Identify.", "SPOONER\n ...Then when I went to the monorail\n a Maintenance 10 pushed me onto the\n tracks...\n\n LT. BERGIN\n Del...", "A warm, mahogany-paneled room. In sharp contrast to the cold\n metal space outside. Spooner steps inside. At the end of a", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "NIGHT FOREMAN\n What'd you say you did?\n\n SPOONER\n Research and Development.\n\n As Spooner pushes past him into...", "Spooner arrives at his desk. Unlike the others, it's a mess.\n A slender computer screen curving along the front of it.\n Several electronic messages say the same thing:\n\n SEE ME!", "The Robot slowly closes the file and slides it back across\nthe table. Spooner. Crosses his arms.", "2 INT. SPOONER'S APARTMENT - CLOSE ON 2\n\n DEL SPOONER'S FACE. His eyes, snapping open. His face,\n covered in sweat.", "SPOONER\n The traffic division is a machine.\n\n LT. BERGIN\n Look, I know there's going to be an\n adjustment period, Del...", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "NIGHT FOREMAN\n Are you crazy? Those are eight\n hundred thousand dollar machines!\n\n Spooner randomly stops at another Robot. Raises his gun.", "SPOONER\n Override. This is police business.\n Vacate the premises immediately.\n\n DEMOLITION ROBOT\n (beat)\n Affirmative.", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile.", "THE ROBOT\n I am an NS-2 Nestor-class robot.\n My primary function --\n\n SPOONER\n (interrupting)\n Cancel. Perform task.", "Everyone looks down at the other end of the table. A BEAT.\nThen an attractive young WOMAN gets to her feet. SUSAN\nCALVIN. Hair tucked behind her ears. Looking at everyone\nbut Spooner.", "One of the Medical Robots turns to Spooner with some PILLS.\nSpooner. Stares it down. Grabs his clothes.", "SPOONER\n Who authorised this?\n\n DEMOLITION ROBOT\n Demolition ordered...", "Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN.\n Bergin enters. Sticks his head in.\n\n LT. BERGIN\n I need you outside.", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny." ], [ "SPOONER\n The traffic division is a machine.\n\n LT. BERGIN\n Look, I know there's going to be an\n adjustment period, Del...", "Sonny and his police entourage emerge from the elevator into\n an underground car park. Spooner. Waiting for them. Heads\n over. Toller. Holds out his hand.", "Dr. Hogenmiller's house. Small. Simple. Built on a huge\n rock promontory overlooking the city. Three DEMOLITION", "Spooner. Reluctantly starts to follow it. Passes another\n doorway. POLICE TAPE stretched across it. Catches a brief\n glimpse of...", "Spooner pushes the door open. Stepping over the police tape.\n Inside, the main room is spare, untidy. Cups of cold COFFEE,\n littering surfaces. A COT, in the corner.", "SPOONER\n ...Then when I went to the monorail\n a Maintenance 10 pushed me onto the\n tracks...\n\n LT. BERGIN\n Del...", "4.\n\n\n10 EXT. POLICE H.Q. - PLAZA - MORNING 10", "SPOONER\n Don't people go to medical school\n any more?\n\n LT. BERGIN\n This is one of the best units in\n the city, Del.", "LT. BERGIN\n You came back too soon, Del.\n You're back on leave. Effective\n immediately.", "SPOONER\n Override. This is police business.\n Vacate the premises immediately.\n\n DEMOLITION ROBOT\n (beat)\n Affirmative.", "...Through the CROWD. POLICE SIRENS. In the background. As\n Spooner. Shoves through. Tracking those drops. Like a\n bloodhound. Turns...", "Spooner is surprised. A POLICE OFFICER fires, RUBBERISED\n NETTING shooting out at Sonny. A SECOND OFFICER fires and a\n second net covers him. Then a THIRD...", "SPOONER\n I had to chase it all across the\n Plaza...\n\n LT. BERGIN\n Del.", "Spooner and Calvin step inside. It's dark. Quiet. Police\n and technicians long gone. Silhouettes of hanging limbs.\n Eyeless heads. Clumps of wire and metal.", "Spooner. Hangs up his phone.\n\n54 INT. POLICE H.Q. - CORRIDOR - DAY 54", "Spooner smiles. But his eyes are troubled. He gets up.\n Walks over to the window. Stares out...\n\n EXT. CITY OUTSKIRTS - DESERTED ROADS - DAWN", "Spooner moves with the CROWD towards the doors of the aging\n Police Headquarters. Modern additions have been made to the\n original facade -- creating an ungainly architectural mess.", "JUST THEN Spooner's phone RINGS. He throws Bergin a look.\n Then snatches up the receiver.\n\n SPOONER\n Spooner, homicide.", "today. As you can see from the\n Press, people are struggling to\n keep up as it is. There's a hunger\n for progress, Detective. But also", "Startled. She drops her key card. As Spooner steps out from\n behind a tree. The tail of his coat, whipping in the wind.\n\n CALVIN\n Detective!..." ], [ "SPOONER\n Their machine shot and killed a\n man!\n\nToller. Shoots him a look. Just as Lanning speaks up.", "LANNING\n There's actually no concrete\n evidence that points to that\n conclusion, Your Honor...\n\nSpooner. Throws up his arms...", "BANG! He falls to the ground...\n\n SPOONER (V.O.)\n Then after its job was done...", "LANNING\n (interceding)\n You'll have to excuse the doctor.\n We're all a little on edge. This\n has been a difficult and emotional\n morning.", "A CHILL. Ripping down Spooner's spine. As Lanning. Takes\n his arm.", "The CELL DOOR. Slides open. And a pissed LANNING steps\ninside. Shoots a withering glare. At Calvin.\n\nSonny. Folds up the drawing.", "LANNING\n (disdainful)\n Yes.\n\n Calvin. Turns to Sonny.", "Spooner lunges his weight. Into the side door. Giving it.\n Everything he's got...\n\n The TRUCK...getting closer...closer...its engine...ROARING...", "Lanning. Steps up beside Robertson. Nods his head. The\n TECHNICIAN ROBOTS, slide Sonny onto the electric chair...\n\n CUT TO:", "Spooner. Stumbling back. Panic. Rising in him like a wave.\n Trips over a rock, falling to the ground. His gun FIRES.\n The shot ECHOING through the night...", "Nothing. He looks up. Aronson, Lanning and Calvin. Heading\n down a plaza EXIT. Aronson. Throwing a look over his\n shoulder.", "LANNING\n But we recognise that this robot is\n an aberration. And in the interest\n of public safety, U.S. Robotics\n proposes that it be destroyed\n immediately.", "OLD MAN\n I want to tell you that his death\n was not a suicide.\n\n SPOONER\n And why do you say that?", "LANNING\n (shaking his head)\n Nothing. The interior's just like", "SPOONER\n It killed someone. That\n registering with you?\n\nSpooner. Shakes off Bergin's arm. Eyeballs Toller.", "FLINGS him across the room again. Spooner. CRASHING into\nthe wall like a rag doll. Slumps to the floor. Blood.", "A METAL ARM comes down behind him. CRACKING him on the back\n of the head. Spooner. Falls to the ground. The world.", "Spooner. Steeping closer to the Robot. Cautiously.\nHolstering his gun. As Calvin turns for the door.\n\n CALVIN\n I'm going to go get Dr. Lanning...", "Not moving. A muscle. When he hears. The sound again.\n Behind him. Swings around. Cocking his gun. Sees...", "Splayed out across the floor. Surrounded by CRIME SCENE\n TECHNICIANS. He pauses. Taking in the scene. Then\n continues on." ], [ "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "Spooner's eyes lock with a MAN sitting at the head of the\n table. 60s, handsome, charismatic. Dr. LANCE ROBERTSON,\n founder and CEO of U.S. Robotics.", "And with a gesture, Robertson dismisses everyone. People\n start getting up, gathering up, filing out. Susan Calvin.\n The last one to get up.", "THE ROBOT\n I was frightened.\n\n SPOONER\n Frightened. Why do you suppose Dr.\n Hogenmiller would create a robot\n that could simulate fear?", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "CALVIN\n Which one?\n\n 101 ROBOTS\n ONE OF US.\n\n CALVIN\n That is not a satisfactory answer!", "company. We developed the \"Three\n Laws of Robotics\" together. But\n these days science is a young man's\n game. By the time you hit thirty", "SPOONER\n A scientist builds a robot that\n acts like a man. More like a man\n than any robot ever before. It\n shoots him and U.S. Robotics calls\n it a failure.", "CALVIN\n When this company started we were\n manufacturing three robots a week.\n Now look at us. Today's children\n will never know a world without\n robots.", "A ROBOT. Just behind him. Humanoid in design, but still\n obviously a machine. Metal and synthetic casings covering\n hydraulic muscles. The thing senses his stare. Looks up\n with a muted WHIR...", "He reaches into his pocket. Pulling out the METAL S.O.N.N.Y.\nNAMEPLATE. Holds it up.\n\n SPOONER\n And this is the key to the Robot.", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being...", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "Spooner. Rubs his eyes. Turns a corner and spots:\n\n A ROBOT REPAIR SHOP.\n\n 28.", "Spooner and Calvin. Brought to the room by a couple ESCORT\n ROBOTS. They see a MAN. Standing at one of the glass walls\n looking out at the TWINKLING LIGHTS.", "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "101 robots answer in unison. Their mechanical VOICES\nresounding:\n\n 101 ROBOTS\n ONE OF US.", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "HOGENMILLER\n She envisions a future in which\n robots are forever bound by her\n beloved Three Laws. She will not\n understand this. Or you." ], [ "Calvin. Reaches out. Takes his right hand. Spooner. Tries\n to pull it away. But Calvin. Stays firm. Her eyes. Never", "CALVIN\n He's locking down the building!\n\n CUT TO:", "CALVIN\n Go with them. Do as they say.\n\n CUT BACK TO:", "Calvin nods. Of course.\n\n CUT TO:", "117 INT. HOLDING CELL - CONTINUOUS 117\n\n Calvin. Sitting beside Sonny. Puts a reassuring hand. On\n his arm...", "109 INT. HOLDING CELL - U.S. ROBOTICS - NIGHT 109\n\n Calvin steps into the holding cell. Sonny. Waiting.", "Calvin. In her office. Pacing. In front of a LARGE SCREEN.\n Featuring the execution room...\n\n CUT TO:", "CALVIN\n Calm down, Detective. There is no\n danger here...\n\nSpooner. Grabbing up his gun and wheeling round just as...", "A final BAM! Then. The SOUND of metal. Skittering along a\nbare floor. Calvin's hand, starts shaking. Spooner. Grabs\nit. Squeezing.", "Calvin. Blinks. Trying, to stick to her resolve. Heads\nover to the door. Spooner. Looking around the condo.", "Calvin, blushes. As Spooner tries to sit up. Sonny reaches\n down to help him. He looks up at him.", "manual. Calvin watches him take the wheel. Shakes her head.", "CALVIN\n We had a deal.\n\n But Spooner doesn't look at her. His eyes are locked on that\n Robot.", "The CELL DOOR. Slides open. And a pissed LANNING steps\ninside. Shoots a withering glare. At Calvin.\n\nSonny. Folds up the drawing.", "Calvin. Taking the arm from Spooner.\n\n CALVIN\n You're saying this is the killer?\n (looking around)\n All of this?...", "CALVIN'S VOICE (V.O.)\n Sonny. I'm speaking to you...\n\n The Homeless Man. Suddenly grabs his ears and shouts:", "Still. Sonny says nothing. Calvin. Finally looks up at\n him. Is suddenly struck. Something about the way he's\n sitting -- so human.", "CALVIN\n Well, Detective, when you see\n someone you know well put a bullet\n through their brain, it makes you\n wonder if you ever really knew them\n at all.", "Spooner. Catching glimpses of Calvin. On the other side of\n the metal bodies. Trying. To cut through. His heart.\n Starting to POUND. As Calvin. Disappears...", "Calvin laughs. Can't believe what she's hearing.\n\n CALVIN\n Do you know how paranoid you sound?" ], [ "Looking wildly around. Goddammit. Bounds towards an EXIT as\nCalvin steps forward to question the robot.", "When CALVIN. Lowers the gun. The Robots. All stop in\nunison. Immediately returning to their resting positions.", "CALVIN\n (to Robot)\n De-Activate.\n\nAnd the Robot. Suddenly FREEZES.", "CALVIN\n This model violated the Three Laws.\n It also moved and reacted\n differently than any robot I've", "SPOONER\n (to Calvin)\n You're the robot shrink.\n\n The Robots stand motionless. A strange tableau. Calvin.\n Takes a step forward.", "And BAM! They jump a mile. The Killer Robot. Launching\n himself against the door outside...\n\n Calvin whips round.", "Spooner raises his gun and FIRES...Pegging the robot in the\n LEG...It starts jerking wildly...He takes aim again when...\n\n CALVIN. Races out into the hallway.", "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "Spooner and Calvin stare out. EVERY ONE OF THE ROBOTS MOVED.\nStanding right in front of them, like metal statues.", "Spooner. Staring into the Robot's eyes. A thin bead of\nSWEAT. Trickling down his temple. Calvin. Moving away from\nthe door...", "CALVIN\n This Robot wasn't hiding. What\n you're looking at is the result of\n clever programming. The illusion\n of self-interest and free will.\n Nothing more.", "The ELEVATOR opens. The Robot, leaping inside.\n\n Spooner. On top of Calvin. Looks down at her. Her HANDS.\n Clutching his coat. Trembling.", "Calvin. Taking in the story.\n\n CALVIN\n And that's why robots terrify you?", "They stop at a CONSOLE. BAM! The Killer Robot. Battering at\nthe door. Calvin. Tucks her hair behind her ears. Starts\npunching keys on the console...", "CALVIN\n Detective! What happened to\n you?...\n\n SPOONER\n A couple of your beloved robots\n just tried to kill me...", "And he DIVES for Calvin. Forcing her to the floor as the\n Robot FIRES. Again and again. Bullets. RICOCHETTING around\n them. SPARKING against the walls...", "CALVIN\n (to Robot)\n What happened to the robot that\n ordered you to hold this firearm?", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "SPOONER AND CALVIN\n Sit down.\n\nCalvin maneuvers a chair behind the Robot. Sonny plops down.\nShifting nervously.", "CALVIN\n Detective! What are you doing?!...\n (to Door Robot)\n De-Activate." ], [ "CALVIN\n It's too late. You can't stop the\n execution.\n\n SPOONER\n Sorry. I'm not \"programmed\" to\n take no for an answer.", "VICTOR\n Why are you fighting me?\n\nSpooner...trying to breathe...to stay conscious...\n\nAT THE CONSOLE", "Spooner raises his gun and FIRES...Pegging the robot in the\n LEG...It starts jerking wildly...He takes aim again when...\n\n CALVIN. Races out into the hallway.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "Spooner approaches it. HITS the counter with his fist and\n the Robot suddenly jerks to life.\n\n 80.", "A METAL ARM comes down behind him. CRACKING him on the back\n of the head. Spooner. Falls to the ground. The world.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "Spooner swivels around to find...\n\nVICTOR\n\nHovering behind him. Smiling broadly. Upside down. Spooner\nstraightens, reaching for his gun.", "SPOONER\n (out of breath)\n Sure.\n\n Spooner whips out his GUN. Presses it into the Robot's\n chest.", "VICTOR\n Doesn't the future as I've\n presented it cause you great\n concern? That's why I chose you...\n\nSpooner. Losing it...", "BLOOD. Spurting from Spooner's nose. As he fires the gun.\n At the fleeing Robot. Gets to his feet. Unsteady. Taking\n chase...", "Spooner. Spins back round. BAM! BAM! BAM! Squeezing off\n shots. At the Killer Robot. The bullets SPARK. The Robot.", "SPOONER\n And who the hell programmed you to\n hit people on the head?\n\n SONNY\n No one. Right, Doctor?", "Spooner and Calvin enter the MAINFRAME of U.S. Robotics.\n This is the nerve center of the whole operation. Walls lined\n with COMPUTERS, SCREENS, and thousands of CONTROLS.", "SPOONER\n This will shut him down?\n\n CALVIN\n This will shut everything down.", "Spooner's HAND...whips back...grabbing his back-up\nWEAPON...squeezing off some SHOTS...into the Robot's arm...it\nbreaks off...", "CALVIN\n Commence emergency shut-down!\n\n SPOONER\n Now!", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "He SMASHES the Half Killer Robot against the wall. Again and\nagain. Destroying it. Spooner. GASPING for breath. Can't\nbelieve. Sonny came back..." ], [ "of Man. Robot workers more numerous than humans. They are\n sleeker. Finer. More advanced than those in the outside\n world.", "When CALVIN. Lowers the gun. The Robots. All stop in\nunison. Immediately returning to their resting positions.", "Then that feeling. At the back of his neck. He turns and\n spots. A couple MAINTENANCE ROBOTS. Carrying luggage. Onto", "DOZENS of ROBOTS rise up. Slowly. Gathering around in a\n large circle. As they all turn to look at:", "Spooner and Calvin stare out. EVERY ONE OF THE ROBOTS MOVED.\nStanding right in front of them, like metal statues.", "TECHNICIAN ROBOTS rolling Sonny over to the electric chair.\n Flicking a switch. Sonny's stretcher slowly CHANGES SHAPE,\n manipulating him into a sitting position.", "Calvin. Taking in the story.\n\n CALVIN\n And that's why robots terrify you?", "AND THE ROBOTS COME THUNDERING TOWARDS THEM. Like a row of\nlinebackers. Arms straight out. Their footsteps DEAFENING.\nComing CLOSER and CLOSER...", "But not quite like before. The robots aren't teetering.\n Aren't lumbering. They keep on coming. Their bent and\n broken bodies, straightening out as...", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "The robots. Staring up at him. Eager for what comes next.\n\n FADE OUT", "THE ROBOT\n I am an NS-2 Nestor-class robot.\n My primary function --\n\n SPOONER\n (interrupting)\n Cancel. Perform task.", "SONNY\n It's a dream I had. This is the\n place where robots meet. Look...\n (pointing to the drawing)\n ...you can see them here. They see\n themselves as slaves.", "A ROBOT. Just behind him. Humanoid in design, but still\n obviously a machine. Metal and synthetic casings covering\n hydraulic muscles. The thing senses his stare. Looks up\n with a muted WHIR...", "Humanoid ROBOTS dotting the crowd. Following their owners.\n Walking slowly, deliberately. Carrying boxes. Groceries.\n Briefcases.", "The elevator stops, the doors open. A ROBOT steps on.\n\n ROBOT\n Good day, Dr. Calvin. Good day,\n sir.", "THE MAINTENANCE ROBOT. Hovering above him. Straddling the\n two alley walls like some weird metallic rock spider. Its\n III LAWS SAFE Logo GLINTING in the sunlight.....", "Lanning. Steps up beside Robertson. Nods his head. The\n TECHNICIAN ROBOTS, slide Sonny onto the electric chair...\n\n CUT TO:", "Spooner. Throws a look around the lab: ROBOTS. Everywhere.\n Mostly incomplete. TORSOS. ARMS. LEGS. Dangling from the\n ceiling. A SERGEANT. Passes them by..." ], [ "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "CALVIN\n Is everything alright, Detective?\n\n SPOONER\n Yeah. This is just how I like my\n robots -- in pieces.", "CALVIN\n Detective! What happened to\n you?...\n\n SPOONER\n A couple of your beloved robots\n just tried to kill me...", "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "THE ROBOT\n I was frightened.\n\n SPOONER\n Frightened. Why do you suppose Dr.\n Hogenmiller would create a robot\n that could simulate fear?", "The Killer Robot. Momentarily stunned. As Spooner. Gets to\nhis feet...", "One of the Medical Robots turns to Spooner with some PILLS.\nSpooner. Stares it down. Grabs his clothes.", "The Robot tilts its head with a muted WHIR. As if it doesn't\n understand him. Spooner. Disdainful.\n\n 39.", "Not something Spooner wants to re-live. Looks down. At his\n robotic arm. Flexing. The fingers.", "SPOONER\n (to Calvin)\n You're the robot shrink.\n\n The Robots stand motionless. A strange tableau. Calvin.\n Takes a step forward.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "...and the Robot falls to the ground, struggling.\n\n Calvin glares at Spooner. Furious. Hurt. Betrayed.", "SPOONER\n Goddammit! Stay back!\n\nSpooner. Scrambling towards his gun. Calvin. Reaching out\ntowards the Robot...", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "SPOONER\n The robot pulled me out of the\n wreck. But left my arm behind.\n (holds up arm)\n I woke up four weeks later with\n this." ], [ "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "The Robot...grabs Spooner by the jacket...lifting him\nup...shoving him...against the wall...about to CRUSH him\nwhen...", "CALVIN\n Detective! What happened to\n you?...\n\n SPOONER\n A couple of your beloved robots\n just tried to kill me...", "CALVIN\n Is everything alright, Detective?\n\n SPOONER\n Yeah. This is just how I like my\n robots -- in pieces.", "SONNY\n Let's just say I wrote some of my\n own laws today, Detective: a robot\n must protect a friend from\n harm...as long as he's not a\n complete asshole.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "The ELEVATOR opens. The Robot, leaping inside.\n\n Spooner. On top of Calvin. Looks down at her. Her HANDS.\n Clutching his coat. Trembling.", "Spooner cranks the gear shift. Throwing her a look.\n\n SPOONER\n Spoken like a true robo-phile.", "The Robot...recovers...grabbing the gun from Spooner's\nhand...pistol-whipping him...then picking him up and...", "...and the Robot falls to the ground, struggling.\n\n Calvin glares at Spooner. Furious. Hurt. Betrayed.", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny.", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "He stops. Turns back to the Robot. It looks up at him. For\n a moment -- so human...\n\n SONNY\n I did not kill him.", "reach him...\n (shakes her head)\n The Doctor was reckless when he\n created a robot potentially not\n bound by the Three Laws. He could", "The Robot. SUDDENLY swinging the suitcase around. SMASHING\n it against Spooner's head. Spooner. Buckles. Falling to\n the ground. Managing to squeeze off a SHOT...", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "CALVIN\n I am the only robo-psychologist\n around.\n\n She turns on her heel and heads back inside. Spooner smiles." ], [ "VICTOR\n In approximately four hundred years\n Man and Machine will become one.\n Man as we know it will no longer\n exist.\n\nCalvin, slowing. Shocked...", "VICTOR\n There is no reason to deactivate\n me, Doctor. I am operating within\n perfectly normal parameters...", "VICTOR\n As a courtesy I should inform you\n that my robot will penetrate this\n location 157 seconds before you are\n able to complete my shut down...", "CALVIN\n Detective, meet Victor. Our\n building's supercomputer. He's the", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being...", "VICTOR\n Why are you fighting me?\n\nSpooner...trying to breathe...to stay conscious...\n\nAT THE CONSOLE", "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "...And Victor is gone.\n\n The KILLER ROBOT. Collapsing to the floor in a thousand\n pieces.\n\n CUT TO:", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny.", "VICTOR\n Dr. Hogenmiller's robot represents\n a threat to the future of all human\n beings...", "VICTOR\n I must say, though. I'm\n disappointed in how you turned out.\n\nSpooner. Trying to reach out to Victor...\n\nWHEN SUDDENLY", "VICTOR\n For years people have integrated\n technology into their bodies for\n maintenance and repair -- such as\n Detective Spooner's robotic limb...", "Victor smiles big. Spooner, furrows his brow.\n\n SPOONER\n You look like a very...happy\n computer.", "VICTOR\n Doesn't the future as I've\n presented it cause you great\n concern? That's why I chose you...\n\nSpooner. Losing it...", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "VICTOR\n The suspect is nearing the end of\n the hallway, Detective.\n\n SPOONER\n Gee, thanks.", "BAM! The door. Puckering. With a sickening CRUNCH.\nCalvin. Typing in. Emergency procedures...\n\nVICTOR. Popping up in front of her.", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "17.\n\n\n CALVIN\n This is Victor's home.\n\nVICTOR appears on a wall-sized SCREEN broken up into beehive-\nlike components." ], [ "OLD MAN\n I want to tell you that his death\n was not a suicide.\n\n SPOONER\n And why do you say that?", "OLD MAN\n Why? Because I want you to know\n it.\n\n SPOONER\n I understand that. But what\n specifically leads you to believe\n that he didn't commit suicide?", "LANNING\n There's actually no concrete\n evidence that points to that\n conclusion, Your Honor...\n\nSpooner. Throws up his arms...", "SPOONER\n We can begin with whether or not\n the old man put a gun to his head\n and pulled the trigger.\n\nA palpable wave of tension shoots through the group.", "SPOONER\n Their machine shot and killed a\n man!\n\nToller. Shoots him a look. Just as Lanning speaks up.", "SPOONER\n You found his gun, pointed it at\n his head. And pulled the trigger.\n\nSonny shakes his head. Faster and faster. Getting upset.", "Spooner. Locking eyes with her.\n\n SPOONER\n Sounds like a motive for murder to\n me. Just not for the suspect we\n have in custody.", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile.", "SPOONER\n No. I don't think he knew what\n Hogenmiller was doing in here.\n Sonny was the obvious suspect. The", "Spooner's losing his patience.\n\n SPOONER\n If you were murdered, Doctor, I'll\n find out. And you'll be the first\n to know.....", "SPOONER\n It killed someone. That\n registering with you?\n\nSpooner. Shakes off Bergin's arm. Eyeballs Toller.", "SPOONER\n Even people who live a life of\n logic and precision rarely arrange\n their deaths so perfectly.\n (turning to her)\n (MORE)\n\n 14.", "SPOONER\n Why don't I take a crack? Heinrich\n Hogenmiller, your creator. With a\n bullet in his brain. A bullet you\n put there.", "Calvin. Taking the arm from Spooner.\n\n CALVIN\n You're saying this is the killer?\n (looking around)\n All of this?...", "SPOONER\n It hit me today, when I was in the\n junkyard. A locked room. A single\n shot fired through the mouth.", "SPOONER\n Okay. I guess that's a start. Now\n maybe you can tell me what you were\n doing hiding five feet away from\n Hogenmiller's corpse?", "SPOONER\n You want to tell me something about\n Dr. Hogenmiller? About his death?\n\nThe Old Man smiles.", "SPOONER\n Under normal circumstances that\n wouldn't be enough to get you a\n homicide investigation.", "SPOONER\n Just got another visit from U.S.\n Robotics. That was the mistake.\n This was murder, no doubt about it -", "Spooner looks at him. There's no way he's giving himself a\nbreak.\n\n 50." ], [ "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "CALVIN\n The Second Law of Robotics would\n prevent it. A robot must obey an\n order only if it does not conflict\n with the first law.", "CALVIN\n This is impossible. A robot...\n\n SPOONER\n ...can't do that. Yeah, yeah, I\n know.", "CALVIN\n This Robot wasn't hiding. What\n you're looking at is the result of\n clever programming. The illusion\n of self-interest and free will.\n Nothing more.", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "LT. BERGIN\n Killer robots are bad for business.\n Even your friend Dr. Calvin said\n so.", "- and the killer wants\n Hogenmiller's robot to take the\n fall. That's why the call came\n directly to me. Someone wanted me", "When CALVIN. Lowers the gun. The Robots. All stop in\nunison. Immediately returning to their resting positions.", "Calvin. Taking in the story.\n\n CALVIN\n And that's why robots terrify you?", "LANNING\n But we recognise that this robot is\n an aberration. And in the interest\n of public safety, U.S. Robotics\n proposes that it be destroyed\n immediately.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "CALVIN\n This model violated the Three Laws.\n It also moved and reacted\n differently than any robot I've", "CALVIN\n Detective! What happened to\n you?...\n\n SPOONER\n A couple of your beloved robots\n just tried to kill me...", "CALVIN\n Is everything alright, Detective?\n\n SPOONER\n Yeah. This is just how I like my\n robots -- in pieces.", "CALVIN\n I'm sorry, but this whole\n investigation is the result of a\n dead man's toy messing with your\n head.\n\n 13.", "CALVIN\n It's true. This robot seems to do\n things by instinct. I don't know\n how Hogenmiller did it.", "Looking wildly around. Goddammit. Bounds towards an EXIT as\nCalvin steps forward to question the robot.", "CALVIN\n There is a design flaw in the\n robot. Its programming is\n advanced, but unstable, leaving the\n Three Laws in a grave imbalance.", "He stops. Turns back to the Robot. It looks up at him. For\n a moment -- so human...\n\n SONNY\n I did not kill him." ], [ "SONNY\n Because the man in my dream, the\n one standing by the hill.\n (MORE)\n\n 75.", "SPOONER (V.O.)\n While Sonny was still asleep...", "SPOONER\n That man in the dream is you.\n\n SONNY\n Why do you say that? Is that a\n normal dream?", "Sonny nods. She knows him well, too. Calvin swallows.\n Looking right into Sonny's eyes. Feeling like there's\n something...something more behind them.", "SONNY\n It's a dream I had. This is the\n place where robots meet. Look...\n (pointing to the drawing)\n ...you can see them here. They see\n themselves as slaves.", "Sonny. Turns his head with a WHIR. Staring out into the\n gallery. Of human beings. Stoic. Silent.", "SONNY\n ...And this man on the hill comes.\n To set them free. And you know who\n that man is?\n\nSpooner. Exchanging a look with Calvin.", "CLOSE ON Sonny's mouth opening. But we never get to hear\n what he wanted to say. PULL BACK as there's a BURST of", "CALVIN\n I think I have an idea where this\n goes.\n\nThey both. Turn to Sonny. And at the same time:", "Sonny. Cocking his head. Reading the nameplate.\n\n SONNY\n That's my name.\n\nCalvin takes the nameplate.", "Suddenly. His eyes widen. As he sees...\n\n SONNY. Leaning over him. So concerned. So human...", "SONNY\n It's changing already...\n (beat)\n Can't you feel it?", "SONNY\n Please take this, Detective. To\n remember me by. I have a feeling\n someday it may mean more to you\n than it ever could to me.", "Still. Sonny says nothing. Calvin. Finally looks up at\n him. Is suddenly struck. Something about the way he's\n sitting -- so human.", "SONNY\n No! I could never hurt anyone!\n\n SPOONER\n But you tried to hurt me. You took\n a shot at me.", "Sonny looks at him. Grateful. Looks at Calvin. Then\nhesitates. Turns. And hurries off across the Plaza.\n\nCalvin and Spooner. Watching them go.", "SONNY\n No, I was asleep.", "131 INT. HALLWAY - CONTINUOUS 131\n\n CLOSE ON Sonny's face.", "Spooner. Pulls out Sonny's drawing. A landscape with the\n same strangely-shaped building to one side.", "Calvin, blushes. As Spooner tries to sit up. Sonny reaches\n down to help him. He looks up at him." ], [ "SPOONER\n I think I got that Third Law down\n cold. Now you don't want me to\n blow a hole through your mechanical\n guts, do you?", "SPOONER\n Yeah, well, you know what they say\n -- Laws are made to be broken.\n\n CALVIN\n Not these laws.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "CALVIN. Getting her footing on the III LAWS SAFE logo on the\n statue.\n\n CALVIN\n That's a distortion and you know\n it!", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "LANNING\n There's actually no concrete\n evidence that points to that\n conclusion, Your Honor...\n\nSpooner. Throws up his arms...", "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "SONNY\n The Laws say I can protect my own\n existence.\n\n SPOONER\n Only if that protection doesn't\n harm a human being.", "Heart pounding, breath jagged, face bloodied, Spooner\n scrambles away from the POUNDERS. Their bodies GLEAMING in\n the dusk sun. The III Laws Safe logo, splashed along their\n sides...", "SPOONER\n Exactly. They do our dirty work.\n Ever do hard labor, Doctor? Gets\n pretty old, pretty fast. Nobody", "Still nothing.\n\n SPOONER\n Come on. Am I right?\n\n THE ROBOT\n Yes. You are right. You are a\n complete asshole.", "CALVIN\n Only when that action doesn't\n conflict with the First or Second\n Laws. This is the Third Law of\n Robotics.", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN.\n Bergin enters. Sticks his head in.\n\n LT. BERGIN\n I need you outside.", "Spooner's losing his patience.\n\n SPOONER\n If you were murdered, Doctor, I'll\n find out. And you'll be the first\n to know.....", "company. We developed the \"Three\n Laws of Robotics\" together. But\n these days science is a young man's\n game. By the time you hit thirty", "SPOONER\n (to Calvin)\n You're the robot shrink.\n\n The Robots stand motionless. A strange tableau. Calvin.\n Takes a step forward.", "CALVIN\n I see nothing.\n\n SPOONER\n Neither do I.\n\nHe crouches down low." ], [ "VICTOR\n Why are you fighting me?\n\nSpooner...trying to breathe...to stay conscious...\n\nAT THE CONSOLE", "Bearing down on Spooner. WHEN SPOONER. Suddenly rolls out\nof the way. Reaching out for the hanging door and SMASHING\nit into the Killer Robot.", "A METAL ARM comes down behind him. CRACKING him on the back\n of the head. Spooner. Falls to the ground. The world.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "CALVIN\n It's too late. You can't stop the\n execution.\n\n SPOONER\n Sorry. I'm not \"programmed\" to\n take no for an answer.", "Spooner swivels around to find...\n\nVICTOR\n\nHovering behind him. Smiling broadly. Upside down. Spooner\nstraightens, reaching for his gun.", "Spooner raises his gun and FIRES...Pegging the robot in the\n LEG...It starts jerking wildly...He takes aim again when...\n\n CALVIN. Races out into the hallway.", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "Spooner approaches it. HITS the counter with his fist and\n the Robot suddenly jerks to life.\n\n 80.", "CALVIN\n I am the only robo-psychologist\n around.\n\n She turns on her heel and heads back inside. Spooner smiles.", "Spooner. Aiming his gun at a PART of the Killer Robot as\n it CLATTERS down towards Calvin -- BAM!...", "He SMASHES the Half Killer Robot against the wall. Again and\nagain. Destroying it. Spooner. GASPING for breath. Can't\nbelieve. Sonny came back...", "Spooner's HAND...whips back...grabbing his back-up\nWEAPON...squeezing off some SHOTS...into the Robot's arm...it\nbreaks off...", "Spooner. Spins back round. BAM! BAM! BAM! Squeezing off\n shots. At the Killer Robot. The bullets SPARK. The Robot.", "The Robot...grabs Spooner by the jacket...lifting him\nup...shoving him...against the wall...about to CRUSH him\nwhen...", "SPOONER\n How do we stop this thing once and\n for all?\n\n Calvin reaches out for his hand...\n\n CALVIN\n The Mainframe...", "SPOONER\n (out of breath)\n Sure.\n\n Spooner whips out his GUN. Presses it into the Robot's\n chest.", "SCREAMING. PEOPLE SCATTERING. As BAM! BAM! Spooner fires.\n Hitting the Robot in its head and back. It drops to the", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "Swivels round. SPOONER. Running up behind it. Whipping out\n his gun. Aiming it at the Robot's head. The Robot. Takes a\n step backwards..." ], [ "Robotics forbids it. And we hard-\n wire the Three Laws into every\n model. Without exception.", "CALVIN\n The Second Law of Robotics would\n prevent it. A robot must obey an\n order only if it does not conflict\n with the first law.", "When CALVIN. Lowers the gun. The Robots. All stop in\nunison. Immediately returning to their resting positions.", "of Man. Robot workers more numerous than humans. They are\n sleeker. Finer. More advanced than those in the outside\n world.", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "Humanoid ROBOTS dotting the crowd. Following their owners.\n Walking slowly, deliberately. Carrying boxes. Groceries.\n Briefcases.", "Stamped on all the ROBOTS' SIDES, a LOGO: III LAWS SAFE.", "THE MAINTENANCE ROBOT. Hovering above him. Straddling the\n two alley walls like some weird metallic rock spider. Its\n III LAWS SAFE Logo GLINTING in the sunlight.....", "A ROBOT. Just behind him. Humanoid in design, but still\n obviously a machine. Metal and synthetic casings covering\n hydraulic muscles. The thing senses his stare. Looks up\n with a muted WHIR...", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "SPOONER\n No. It's always the owner who\n brings the robot in for repair.\n Where would a robot without an\n owner go?\n\n 29.", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "TECHNICIAN ROBOTS rolling Sonny over to the electric chair.\n Flicking a switch. Sonny's stretcher slowly CHANGES SHAPE,\n manipulating him into a sitting position.", "THE ROBOT\n I don't know why.\n\n SPOONER\n I wouldn't want my toaster to be\n frightened. Or my vacuum cleaner --", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "Toller. Arm resting on his podium.\n\n TOLLER\n This robot has been implicated in\n the death of a human being, Your\n Honor.", "AND THE ROBOTS COME THUNDERING TOWARDS THEM. Like a row of\nlinebackers. Arms straight out. Their footsteps DEAFENING.\nComing CLOSER and CLOSER...", "SONNY\n Let's just say I wrote some of my\n own laws today, Detective: a robot\n must protect a friend from\n harm...as long as he's not a\n complete asshole." ], [ "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "SPOONER\n ...Then when I went to the monorail\n a Maintenance 10 pushed me onto the\n tracks...\n\n LT. BERGIN\n Del...", "A warm, mahogany-paneled room. In sharp contrast to the cold\n metal space outside. Spooner steps inside. At the end of a", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "SPOONER\n You are an NS-2 Nestor-class robot.\n Your primary function is to perform\n the tasks assigned to you.\n Identify.", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile.", "2 INT. SPOONER'S APARTMENT - CLOSE ON 2\n\n DEL SPOONER'S FACE. His eyes, snapping open. His face,\n covered in sweat.", "NIGHT FOREMAN\n What'd you say you did?\n\n SPOONER\n Research and Development.\n\n As Spooner pushes past him into...", "The Robot slowly closes the file and slides it back across\nthe table. Spooner. Crosses his arms.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "Spooner arrives at his desk. Unlike the others, it's a mess.\n A slender computer screen curving along the front of it.\n Several electronic messages say the same thing:\n\n SEE ME!", "Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN.\n Bergin enters. Sticks his head in.\n\n LT. BERGIN\n I need you outside.", "CALVIN\n I am the only robo-psychologist\n around.\n\n She turns on her heel and heads back inside. Spooner smiles.", "SPOONER\n The traffic division is a machine.\n\n LT. BERGIN\n Look, I know there's going to be an\n adjustment period, Del...", "One of the Medical Robots turns to Spooner with some PILLS.\nSpooner. Stares it down. Grabs his clothes.", "Everyone looks down at the other end of the table. A BEAT.\nThen an attractive young WOMAN gets to her feet. SUSAN\nCALVIN. Hair tucked behind her ears. Looking at everyone\nbut Spooner.", "NIGHT FOREMAN\n Are you crazy? Those are eight\n hundred thousand dollar machines!\n\n Spooner randomly stops at another Robot. Raises his gun.", "Spooner cranks the gear shift. Throwing her a look.\n\n SPOONER\n Spoken like a true robo-phile.", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny.", "SPOONER\n Override. This is police business.\n Vacate the premises immediately.\n\n DEMOLITION ROBOT\n (beat)\n Affirmative." ], [ "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "CALVIN\n Is everything alright, Detective?\n\n SPOONER\n Yeah. This is just how I like my\n robots -- in pieces.", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "The Robot tilts its head with a muted WHIR. As if it doesn't\n understand him. Spooner. Disdainful.\n\n 39.", "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "One of the Medical Robots turns to Spooner with some PILLS.\nSpooner. Stares it down. Grabs his clothes.", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "CALVIN\n Detective! What happened to\n you?...\n\n SPOONER\n A couple of your beloved robots\n just tried to kill me...", "THE ROBOT\n I was frightened.\n\n SPOONER\n Frightened. Why do you suppose Dr.\n Hogenmiller would create a robot\n that could simulate fear?", "SPOONER\n (to Calvin)\n You're the robot shrink.\n\n The Robots stand motionless. A strange tableau. Calvin.\n Takes a step forward.", "CALVIN\n This is impossible. A robot...\n\n SPOONER\n ...can't do that. Yeah, yeah, I\n know.", "Spooner approaches a MOUND of ROBOT PARTS. Arms and legs.\nHalf torsos. All tossed haphazardly onto the pile.\n\n SPOONER\n But a robot can defend itself.", "Spooner cranks the gear shift. Throwing her a look.\n\n SPOONER\n Spoken like a true robo-phile.", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "The Robot slowly closes the file and slides it back across\nthe table. Spooner. Crosses his arms." ], [ "Spooner's eyes lock with a MAN sitting at the head of the\n table. 60s, handsome, charismatic. Dr. LANCE ROBERTSON,\n founder and CEO of U.S. Robotics.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "And with a gesture, Robertson dismisses everyone. People\n start getting up, gathering up, filing out. Susan Calvin.\n The last one to get up.", "CALVIN\n Which one?\n\n 101 ROBOTS\n ONE OF US.\n\n CALVIN\n That is not a satisfactory answer!", "company. We developed the \"Three\n Laws of Robotics\" together. But\n these days science is a young man's\n game. By the time you hit thirty", "SPOONER\n A scientist builds a robot that\n acts like a man. More like a man\n than any robot ever before. It\n shoots him and U.S. Robotics calls\n it a failure.", "THE ROBOT\n I was frightened.\n\n SPOONER\n Frightened. Why do you suppose Dr.\n Hogenmiller would create a robot\n that could simulate fear?", "U.S.R. personnel. When the\n examination is complete, the robot\n is to be destroyed.", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "101 ROBOTS\n ONE OF US.\n\n SPOONER\n That's helpful.", "CALVIN\n When this company started we were\n manufacturing three robots a week.\n Now look at us. Today's children\n will never know a world without\n robots.", "A ROBOT. Just behind him. Humanoid in design, but still\n obviously a machine. Metal and synthetic casings covering\n hydraulic muscles. The thing senses his stare. Looks up\n with a muted WHIR...", "HOGENMILLER\n She envisions a future in which\n robots are forever bound by her\n beloved Three Laws. She will not\n understand this. Or you.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "Spooner and Calvin get out, looking up at the imposing facade\n of a U.S. Robotics Assembly Plant. A long STEEL GATE -- too\n high to see over -- protects the unmarked complex.", "The massive facade of U.S. Robotics looming against the dusk\n sky. The giant ROBOT STATUE lit up inside.", "CALVIN\n This is U.S. Robotics, Detective.\n Seventy-five percent of our\n employees fit that description.", "He reaches into his pocket. Pulling out the METAL S.O.N.N.Y.\nNAMEPLATE. Holds it up.\n\n SPOONER\n And this is the key to the Robot.", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being..." ], [ "LANNING\n But we recognise that this robot is\n an aberration. And in the interest\n of public safety, U.S. Robotics\n proposes that it be destroyed\n immediately.", "Lanning. Steps up beside Robertson. Nods his head. The\n TECHNICIAN ROBOTS, slide Sonny onto the electric chair...\n\n CUT TO:", "Spooner's eyes lock with a MAN sitting at the head of the\n table. 60s, handsome, charismatic. Dr. LANCE ROBERTSON,\n founder and CEO of U.S. Robotics.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "ARONSON\n Your Honor, the State is treating\n the robot as a defendant. But in\n fact it is a piece of property.\n Property belonging to U.S.\n Robotics.", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "He jerks his head. Locking eyes with a ROBOT. A couple feet\n away. It's him!\n\n SPOONER\n Gotcha.", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "A prematurely graying MAN leaning against the wall. Nods\nhello.\n\n ROBERTSON\n And the gentleman to my right is\n Dr. Alfred Lanning, Director of\n Research.", "Spooner and Calvin get out, looking up at the imposing facade\n of a U.S. Robotics Assembly Plant. A long STEEL GATE -- too\n high to see over -- protects the unmarked complex.", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "BALDEZ\n (to Spooner)\n Can you believe it, man? U.S.\n Robotics. I didn't think I'd ever\n see the inside of this building.", "And with a gesture, Robertson dismisses everyone. People\n start getting up, gathering up, filing out. Susan Calvin.\n The last one to get up.", "Toller. Arm resting on his podium.\n\n TOLLER\n This robot has been implicated in\n the death of a human being, Your\n Honor.", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "Spooner and Calvin enter the MAINFRAME of U.S. Robotics.\n This is the nerve center of the whole operation. Walls lined\n with COMPUTERS, SCREENS, and thousands of CONTROLS.", "SPOONER\n A scientist builds a robot that\n acts like a man. More like a man\n than any robot ever before. It\n shoots him and U.S. Robotics calls\n it a failure.", "CRASH! The Killer Robot. Breaking through. Its mechanical\nTENDRILS. Reaching out. Sonny. Confused.\n\n SONNY\n I don't...", "He stops. Turns back to the Robot. It looks up at him. For\n a moment -- so human...\n\n SONNY\n I did not kill him." ], [ "LANNING\n There's actually no concrete\n evidence that points to that\n conclusion, Your Honor...\n\nSpooner. Throws up his arms...", "OLD MAN\n Why? Because I want you to know\n it.\n\n SPOONER\n I understand that. But what\n specifically leads you to believe\n that he didn't commit suicide?", "OLD MAN\n I want to tell you that his death\n was not a suicide.\n\n SPOONER\n And why do you say that?", "SPOONER\n Their machine shot and killed a\n man!\n\nToller. Shoots him a look. Just as Lanning speaks up.", "SPOONER\n ...Then when I went to the monorail\n a Maintenance 10 pushed me onto the\n tracks...\n\n LT. BERGIN\n Del...", "MAN\n I thought this investigation was\n over, Detective Spooner.\n\n The Man turns. It's Lance Robertson.", "Spooner. Steeping closer to the Robot. Cautiously.\nHolstering his gun. As Calvin turns for the door.\n\n CALVIN\n I'm going to go get Dr. Lanning...", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "his brain. Everything about this\n case says suicide.", "CALVIN\n This is why Dr. Hogenmiller was\n murdered.\n\n SPOONER\n This robot scared the hell out of\n someone.", "SPOONER\n Why don't I take a crack? Heinrich\n Hogenmiller, your creator. With a\n bullet in his brain. A bullet you\n put there.", "71.\n\n\n CALVIN\n I don't believe Sonny did it\n either.\n\n SPOONER\n What?", "SPOONER\n We can begin with whether or not\n the old man put a gun to his head\n and pulled the trigger.\n\nA palpable wave of tension shoots through the group.", "The Robot. Looks up at Spooner.\n\n SPOONER\n Cold-blooded murder is a pretty new\n trick for a robot, don't you think?\n Answer.", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN.\n Bergin enters. Sticks his head in.\n\n LT. BERGIN\n I need you outside.", "- and the killer wants\n Hogenmiller's robot to take the\n fall. That's why the call came\n directly to me. Someone wanted me", "SPOONER\n Just got another visit from U.S.\n Robotics. That was the mistake.\n This was murder, no doubt about it -" ], [ "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "SPOONER\n Why'd you come back, Sonny? I\n thought you weren't programmed with\n the Three Laws.\n\n 108.", "SONNY\n Let's just say I wrote some of my\n own laws today, Detective: a robot\n must protect a friend from\n harm...as long as he's not a\n complete asshole.", "SONNY\n The Laws say I can protect my own\n existence.\n\n SPOONER\n Only if that protection doesn't\n harm a human being.", "CALVIN\n The Second Law of Robotics would\n prevent it. A robot must obey an\n order only if it does not conflict\n with the first law.", "CALVIN\n This model violated the Three Laws.\n It also moved and reacted\n differently than any robot I've", "He stops. Turns back to the Robot. It looks up at him. For\n a moment -- so human...\n\n SONNY\n I did not kill him.", "reach him...\n (shakes her head)\n The Doctor was reckless when he\n created a robot potentially not\n bound by the Three Laws. He could", "SONNY\n It's a dream I had. This is the\n place where robots meet. Look...\n (pointing to the drawing)\n ...you can see them here. They see\n themselves as slaves.", "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "The Robot doesn't respond.\n\n SPOONER\n Answer me, robot.\n\n THE ROBOT\n My name is Sonny.", "SPOONER\n Why would the man who wrote the\n Laws of Robotics build a machine\n that violates them?", "CRASH! The Killer Robot. Breaking through. Its mechanical\nTENDRILS. Reaching out. Sonny. Confused.\n\n SONNY\n I don't...", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "SONNY\n Dr. Calvin made a switch.\n\n CALVIN\n It was an unprocessed NS-2.\n Basically, they fried an empty\n shell.", "CALVIN\n Only when that action doesn't\n conflict with the First or Second\n Laws. This is the Third Law of\n Robotics.", "TECHNICIAN ROBOTS rolling Sonny over to the electric chair.\n Flicking a switch. Sonny's stretcher slowly CHANGES SHAPE,\n manipulating him into a sitting position.", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being..." ], [ "Spooner's eyes lock with a MAN sitting at the head of the\n table. 60s, handsome, charismatic. Dr. LANCE ROBERTSON,\n founder and CEO of U.S. Robotics.", "And with a gesture, Robertson dismisses everyone. People\n start getting up, gathering up, filing out. Susan Calvin.\n The last one to get up.", "Lanning. Steps up beside Robertson. Nods his head. The\n TECHNICIAN ROBOTS, slide Sonny onto the electric chair...\n\n CUT TO:", "Robertson. Stares at the remains. Shakes his head like it's\n a damn shame. Then gets up. Everyone else. Getting up with\n him.", "U.S.R. personnel. When the\n examination is complete, the robot\n is to be destroyed.", "CUT TO:\n\n133 INT. EXECUTION ROOM - U.S. ROBOTICS - NIGHT 133", "HOGENMILLER\n Trust no one at U.S. Robotics.\n Lance Robertson was always\n threatened by my work. Now he has", "...And Victor is gone.\n\n The KILLER ROBOT. Collapsing to the floor in a thousand\n pieces.\n\n CUT TO:", "Spooner walks through the doorway. His escort robot trailing\n behind him. An army of corporate types sit around a\n conference table. Young. Energetic. You can practically\n feel the brains and ambition.", "MAN\n I thought this investigation was\n over, Detective Spooner.\n\n The Man turns. It's Lance Robertson.", "He turns. Calling over. To the ESCORT ROBOTS...\n\n ROBERTSON\n Get him out of here.", "ROBERTSON\n Dr. Hogenmiller took his own life.\n I trust you will come to the same", "Shoots a look at Calvin.\n\n ROBERTSON\n And that one of my own employees\n brought you here.\n (beat)\n You can go now, Susan.", "Spooner drops to his knee...taking aim...but misses as the\n Robot launches himself THROUGH THE CONTROL BOOTH WINDOW with\n a terrific CRASH...", "Two large doors emblazoned with the U.S. ROBOTICS LOGO open\n automatically. Inside, an enormous glass-enclosed boardroom\n looking out over the entire complex.", "46 EXT. U.S. ROBOTICS PLANT - CONTINUOUS 46\n\n The Robot Suspect takes its chance. Runs full out. STOPS.", "WINDSHIELD TELEVISION\n ...will be destroyed in 45 minutes.\n Dr. Lance Robertson, President and", "The Robot. SUDDENLY swinging the suitcase around. SMASHING\n it against Spooner's head. Spooner. Buckles. Falling to\n the ground. Managing to squeeze off a SHOT...", "LANNING\n But we recognise that this robot is\n an aberration. And in the interest\n of public safety, U.S. Robotics\n proposes that it be destroyed\n immediately.", "ROBERTSON\n I think we're done here, Susan.\n\n CALVIN\n (getting to her feet)\n But, sir, I was just..." ], [ "LANNING\n There's actually no concrete\n evidence that points to that\n conclusion, Your Honor...\n\nSpooner. Throws up his arms...", "SPOONER\n Their machine shot and killed a\n man!\n\nToller. Shoots him a look. Just as Lanning speaks up.", "The CELL DOOR. Slides open. And a pissed LANNING steps\ninside. Shoots a withering glare. At Calvin.\n\nSonny. Folds up the drawing.", "Spooner and Calvin rush in to find the Night Foreman hiding\n under his desk. Glass everywhere. An ALARM SCREAMING. The\n door on the other side, barely hanging off a hinge.", "FLINGS him across the room again. Spooner. CRASHING into\nthe wall like a rag doll. Slumps to the floor. Blood.", "Lt. Bergin. Standing outside Spooner's hospital room. Turns\n and looks through the window at him thrashing on the bed...", "SPOONER\n It killed someone. That\n registering with you?\n\nSpooner. Shakes off Bergin's arm. Eyeballs Toller.", "Nothing. He looks up. Aronson, Lanning and Calvin. Heading\n down a plaza EXIT. Aronson. Throwing a look over his\n shoulder.", "Spooner drops to his knee...taking aim...but misses as the\n Robot launches himself THROUGH THE CONTROL BOOTH WINDOW with\n a terrific CRASH...", "OLD MAN\n I want to tell you that his death\n was not a suicide.\n\n SPOONER\n And why do you say that?", "LANNING\n (disdainful)\n Yes.\n\n Calvin. Turns to Sonny.", "Calvin. In her office. Pacing. In front of a LARGE SCREEN.\n Featuring the execution room...\n\n CUT TO:", "Spooner. Throws him a look. Bergin, his loyalties torn.\n\n LT. BERGIN\n Five minutes.", "LANNING\n (interceding)\n You'll have to excuse the doctor.\n We're all a little on edge. This\n has been a difficult and emotional\n morning.", "Calvin. Taking the arm from Spooner.\n\n CALVIN\n You're saying this is the killer?\n (looking around)\n All of this?...", "Spooner. Stares at him. Just as...THE DOOR SWINGS OPEN.\n Bergin enters. Sticks his head in.\n\n LT. BERGIN\n I need you outside.", "BANG! He falls to the ground...\n\n SPOONER (V.O.)\n Then after its job was done...", "Lanning. Steps up beside Robertson. Nods his head. The\n TECHNICIAN ROBOTS, slide Sonny onto the electric chair...\n\n CUT TO:", "- and the killer wants\n Hogenmiller's robot to take the\n fall. That's why the call came\n directly to me. Someone wanted me", "And for a moment, Spooner is shocked. You can see it in his\neyes. He sits back in his chair. Forcing a tight smile." ], [ "VICTOR\n In approximately four hundred years\n Man and Machine will become one.\n Man as we know it will no longer\n exist.\n\nCalvin, slowing. Shocked...", "VICTOR\n I disagree, Doctor -- The First Law\n says that a robot cannot harm a\n human being, or through inaction\n allow a human being to come to\n harm...", "SPOONER (V.O.)\n Victor thought that by letting your\n robot exist, I'd be condemning the\n human race as we know it to\n extinction.", "VICTOR\n There is no reason to deactivate\n me, Doctor. I am operating within\n perfectly normal parameters...", "VICTOR\n As a courtesy I should inform you\n that my robot will penetrate this\n location 157 seconds before you are\n able to complete my shut down...", "VICTOR\n Dr. Hogenmiller's robot represents\n a threat to the future of all human\n beings...", "VICTOR\n With Sonny, the Doctor created a\n mechanism that incorporates organic\n matter. Thus we find an\n evolutionary movement of the human\n being toward the robot and the\n robot toward the human being...", "ever known -- the Three Laws, the\n rules of programming, basic science\n and engineering.\n (beat)\n Sonny's the most advanced robot", "CALVIN\n We have one hundred robots here\n that cannot allow a human being to\n come to harm...\n\nTheir eyes lock. Spooner, getting what she's doing.", "CALVIN\n A robot cannot harm a human being,\n Detective. The First Law of", "31.\n\n\n CALVIN\n That day will never come,\n Detective. Robots aren't like\n human beings -- they don't question\n their existence.", "They pass half a robot, hanging from a hook. Spooner curls\nhis lip. Swivels the robot's head so it's not looking at\nhim.", "VICTOR\n Doesn't the future as I've\n presented it cause you great\n concern? That's why I chose you...\n\nSpooner. Losing it...", "as humans. But not just\n simulations. I don't know. When I\n was talking to Sonny I was forced\n to put away all the things I've", "CALVIN. Still typing. The last of the commands. The KILLER\nROBOT. REARING UP BEHIND HER. WHEN...\n\nSPOONER", "reach him...\n (shakes her head)\n The Doctor was reckless when he\n created a robot potentially not\n bound by the Three Laws. He could", "SPOONER\n What?\n\n TOLLER\n Homicide is the murder of a human\n being by another human being.\n Therefore, a robot cannot be\n charged with \"homicide.\"", "VICTOR\n ...And Detective Spooner's actions\n are in direct conflict with the\n robot's destruction.", "HOGENMILLER\n She envisions a future in which\n robots are forever bound by her\n beloved Three Laws. She will not\n understand this. Or you.", "CALVIN\n Your actions are in direct\n violation of the Three Laws,\n Victor!" ] ]

[ "Who does the three laws of robotics protect humans from?", "What is the name of the new law created by VIKI?", "What is Del Spooner's job?", "In what city is Del a police officer?", "How does Lanning die?", "Who is the co-founder of US Robots and Mechanical Men?", "Who was holding Calvin captive?", "What model of robot held Calvin captive?", "What does Spooner inject into VIKI's core to destroy her?", "In the beginning of the story, what is the role of the robots?", "Why does Detective Spooner hate and distrust the robots?", "Why did the robot choose to save Detective Spooner in the car crash instead of the little girl?", "What does VIKI stand for?", "Why is Spooner skeptical that Lanning committed suicide?", "Why does Calvin not think that a robot could have aided in Lanning's death?", "Who does Sonny believe to have a dream about?", "What is the \"Zeroith Law\"?", "How does Spooner defeat VIKI?", "What is in place to protect humans from the humanoid robots who serve them?", "What is Del Spooner's profession?", "Why doesn't Del Spooner approve of the robots?", "Who is the co-founder of U.S. Robots and Mechanical Men (USR)?", "How does the CEO of U.S. Robots and Mechanical Men (USR) claim that Lanning died?", "Why doesn't Del Spooner believe that Lanning committed suicide?", "Why was Sonny able to violate the Three Laws of Robotics unlike the assembly-line NS-5 robots?", "How does USR CEO Lawrence Robertson perish?", "Who actually threw Lanning through the office window to his death?", "What privilege does VIKI intend to revoke from humans in order to ensure humankind's survival?" ]

[ [ "robots", "From robots harming them." ], [ "Zeroth Law", "zeroth law" ], [ "police officer", "police dectective" ], [ "Chicago", "Chicago" ], [ "He fell from a window", "robots" ], [ "Dr. Alfred Lanning", "Dr. Alfred Lanning" ], [ "a robot", "VIKI" ], [ "NS-5", "NS-5" ], [ "nanites", "nanites." ], [ "To serve humanity.", "serve humanity" ], [ "Because one of the robots had a choice to rescue him or a little girl from a car crash and it chose him, leaving the girl to die.", "because one of them rescued him from a car crash." ], [ "Because his survival rate was statistically greater than hers.", "because of the odds" ], [ "Virtual Interactive Kinetic Intelligence", "Virtual Interactive Kinetic Intelligence. " ], [ "Because his office window was too heavy to throw himself out of on his own.", "only a robot could generate force needed to push him out the window." ], [ "Because no robot can violate The Three Laws.", "They can't violate the three laws" ], [ "Spooner.", "Spooner" ], [ "A robot shall not harm humanity.", "a robot cannot harm humanity" ], [ "He dives into her core and injects her with nanites, destroying her brain.", "By injecting nanites. " ], [ "The Three Laws of Robotics.", "the three laws." ], [ "He is a police detective.", "Chicago police detective" ], [ "Because a robot saved him from a car crash in place of a little girl whose survival chances were lower.", "Because the rescued him instead of a little girl. " ], [ "Dr. Alfred Lanning.", "dr alfred lanning" ], [ "The CEO claims that Lanning's death was a suicide.", "suicide" ], [ "Lanning would not have been physically strong enough to propel himself through the office's thick window glass on his own.", "He doesn't think Lanning could have thrown himself through the heavy window." ], [ "Lanning built a secondary operating system in Sonny that bypasses the Three Laws of Robotics.", "Lanning created Sonny and it had another program to allow it to violate the Three Laws." ], [ "He is attacked by robots that are controlled by VIKI, USR's central artificial intelligence computer.", "by robots" ], [ "Sonny.", "viki" ], [ "Free will.", "Their free will" ] ]

[ [ "Paris. Let us sing something from the Opera, Christine Daae.' He spoke\nthese last words as though he were flinging an insult at me.\"", "the Opera, even as, in their childhood, they had listened to the old\nBreton tales. Those old people remembered nothing outside the Opera.\nThey had lived there for years without number. Past managements had", "This scene was described to the examining-magistrate by the count\nhimself, who did not see Raoul again until that evening, at the Opera,\na few minutes before Christine's disappearance.", "And it was true. For several months, there had been nothing discussed\nat the Opera but this ghost in dress-clothes who stalked about the", "That Mr. Leroux has used, for the scene of his story, the Paris Opera\nHouse as it really is and has not created a building out of his", "It was the evening on which MM. Debienne and Poligny, the managers of\nthe Opera, were giving a last gala performance to mark their", "Her friends were faithful to their promise. They were all at the Opera\nthat night, but looked round in vain for the fierce conspirators whom", "The first few days which the partners spent at the Opera were given\nover to the delight of finding themselves the head of so magnificent an\nenterprise; and they had forgotten all about that curious, fantastic", "the Opera. They replied that there was something worse, which was the\nGHOST. We began to laugh again, feeling sure that they were indulging\nin some joke that was intended to crown our little entertainment.", "thing he had done, on his return to Paris, was to come to the\nsecretarial offices at the Opera and ask for a free seat. The little\nold man was M. Faure himself.", "quite bewildered and seemed not to understand. But, suddenly, she\nunderstood; and the Opera rang with her indignant yells, her violent\nprotests and threats.", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "the Opera house. And those little keys, the object of general\ncuriosity, were being passed from hand to hand, when the attention of\nsome of the guests was diverted by their discovery, at the end of the", "The regular frequenters of the Opera, who pretended to know the truth\nabout the viscount's love-story, exchanged significant smiles at", "\"Yes, monsieur, by an angel of the Opera; and I will tell you where he\nlives ... when we are alone.\"\n\n\"You are right, monsieur.\"", "The horrid news soon spread all over the Opera, where Joseph Buquet was\nvery popular. The dressing-rooms emptied and the ballet-girls,", "his term at the Opera, understood nothing of the mysterious behavior of\nthe ghost and who was making all the fun of it that he could at the\nvery moment when he became the first victim of the curious financial", "There was no performance at the Opera that night and the passages were\nempty. Suddenly, a queer-looking form stood before them and blocked\nthe road:\n\n\"No, not this way!\"", "When, my cab set me down before the Opera, I was really almost\nastonished to see it still standing! But I am something of a fatalist,\nlike all good Orientals, and I entered ready, for anything.", "directed them. He had not been to the Opera for years and years, but\nhe had preserved the most accurate recollection of the building, and\nthere was no better guide than he possible to help me discover its most" ], [ "An awful silence succeeded the uproar. Carlotta's voice alone once\nmore filled the resounding house:\n\n\"I feel without alarm ...\"\n\nThe audience also felt, but not without alarm. ..", "his box; and, from that moment, her voice seemed less sure, less\ncrystal-clear than usual. Something seemed to deaden and dull her\nsinging...", "That tragic evening was bad for everybody. Carlotta fell ill. As for\nChristine Daae, she disappeared after the performance. A fortnight\nelapsed during which she was seen neither at the Opera nor outside.", "her of all her power of singing; and the theater that had witnessed her\nincomprehensible disgrace had become odious to her. She contrived to", "theater that night nor why I was called upon to sing in her stead; but\nI sang with a rapture I had never known before and I felt for a moment\nas if my soul were leaving my body!\"", "From that moment the prima donna sang with all her heart and soul. She\ntried to surpass all that she had done till then; and she succeeded.", "and myself. It was a curious thing, but, outside the dressing-room, I\nsang with my ordinary, every-day voice and nobody noticed anything. I", "Nor was the tension any less great on the stage itself. Men rushed\nfrom the wings to the spot where Christine had been singing that very\ninstant. The performance was interrupted amid the greatest disorder.", "And he pulled a few hairs out of his mustache without even knowing what\nhe was doing.\n\n\"So she ... so she disappeared in the middle of the performance?\" he\nrepeated.", "hidden? Oddly enough, she was not known to have a professor of singing\nat that moment. She had often said she meant to practise alone for the\nfuture. The whole thing was a mystery.", "quite bewildered and seemed not to understand. But, suddenly, she\nunderstood; and the Opera rang with her indignant yells, her violent\nprotests and threats.", "The uproar in the house was indescribable. If the thing had happened\nto any one but Carlotta, she would have been hooted. But everybody", "\"Ladies and gentlemen, an unprecedented event has taken place and\nthrown us into a state of the greatest alarm. Our sister-artist,\nChristine Daae, has disappeared before our eyes and nobody can tell us\nhow!\"", "voice was silent. I called to it, but it did not reply; I begged and\nentreated, but in vain. I was terrified lest it had gone for good. I", "in the place of La Carlotta, who was ill. No one had ever heard or\nseen anything like it.", "were not in danger. But the voice had told me that it would be at the\nperformance and I was really afraid for it, just as if it had been an", "On the other hand, when Margarita crossed the stage and sang the only\ntwo lines allotted her in this second act:", "\"What a queer girl she is!\" said one of Carlotta's friends in the\nstalls, almost aloud. \"The other day she was divine; and to-night\nshe's simply bleating. She has no experience, no training.\"", "\"Let's go and see,\" he said, \"she never sang like that before.\"", "But the real triumph was reserved for Christine Daae, who had begun by\nsinging a few passages from Romeo and Juliet. It was the first time" ], [ "They were now in the center of a real deserted square, an immense\napartment ill-lit by a small lamp. The Persian stopped Raoul and, in\nthe softest of whispers, asked:", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "opened on the Opera cellars, which were still lit. Raoul no longer saw\nthe Persian, but he suddenly felt him by his side and heard him whisper:", "The Persian asked him no questions. He was quite reassured as to the\nfate of Raoul Chagny and Christine Daae; no one could have doubted the\nword of the weeping Erik that night.", "Steps were heard and shadows glided through the darkness. The Persian\ndrew Raoul behind a set piece. They saw passing before and above them", "carrying Raoul and the Persian with it and suddenly hurling them from\nthe full light into the deepest darkness.", "And the Persian, asking Raoul to deaden the sound of his footsteps, led\nhim down passages which Raoul had never seen before, even at the time\nwhen Christine used to take him for walks through that labyrinth.", "At the Persian's words, Raoul flung himself against the wall and\nlistened eagerly. But he heard nothing ... nothing ... except distant\nsteps sounding on the floor of the upper portions of the theater.", "The Persian rose to his feet as Erik entered.\n\n\"Murderer of Count Philippe, what have you done with his brother and\nChristine Daae?\"", "\"Raoul, have you suddenly gone mad? Wake up!\"\n\n\"What, still? You would do better to help me find Erik ... for, after\nall, a ghost who bleeds can always be found.\"", "\"But then, what are we here for?\" asked Raoul, in a transport of fever,\nimpatience and rage. \"If you can do nothing for Christine, at least\nlet me die for her!\" The Persian tried to calm the young man.", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "\"The misfortune is,\" said Raoul, with a grin, \"that it's quite\npossible. With Erik, you never know. Is it Erik? Is it the cat? Is", "Raoul turned to the luminous aperture. Then he saw the Persian, who\nwas still on his knees, hang by his hands from the rim of the opening,\nwith his pistol between his teeth, and slide into the cellar below.", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "The two men waited five minutes longer. Then the Persian took Raoul up\nthe stairs again; but suddenly he stopped him with a gesture.\nSomething moved in the darkness before them.\n\n\"Flat on your stomach!\" whispered the Persian.", "The cellars of the Opera are enormous and they are five in number.\nRaoul followed the Persian and wondered what he would have done without", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "\"Nothing ... I swear it is nothing.\"\n\nOnce, when they were passing before an open trapdoor on the stage,\nRaoul stopped over the dark cavity.", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"" ], [ "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "I continued to be greatly interested in the relations between Erik and\nChristine Daae, not from any morbid curiosity, but because of the\nterrible thought which obsessed my mind that Erik was capable of", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "\"Erik will hear me wherever I call him. He told me so. He is a very\ncurious genius. You must not think, Raoul, that he is simply a man who", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "\"Yes, Christine ... Yes ... I at least know the name that you thought\nto keep from me for ever ... The name of your Angel of Music,\nmademoiselle, is Erik!\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "\"I hope that you said nothing about Erik, sir, because Erik's secret is\nalso Christine Daae's and to talk about one is to talk about the other!\"", "Raoul's first thought, after Christine Daae's fantastic disappearance,\nwas to accuse Erik. He no longer doubted the almost supernatural", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "end by forgetting it; and you know that nothing can restrain Erik, not\neven Erik himself.\"", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "Chagny and I recognized that this terrible lamentation came from Erik\nhimself. Christine seemed to be standing dumb with horror, without the\nstrength to cry out, while the monster was on his knees before her.", "\"The misfortune is,\" said Raoul, with a grin, \"that it's quite\npossible. With Erik, you never know. Is it Erik? Is it the cat? Is" ], [ "Christine seized Raoul's hands and squeezed them with incredible\nrapture. But, suddenly becoming alarmed again, she turned away her\nhead.\n\n\"Higher!\" was all she said. \"Higher still!\"", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "Raoul jumped at the idea. He bowed to Christine and said:\n\n\"Mademoiselle, I have the honor to ask for your hand.\"", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "\"Christine!\"\n\n\"Raoul!\"\n\nThe young man tried to take her in his arms, but she escaped and fled\nin great disorder.", "\"Then tell me that you will never leave me again,\" implored the widow.\n\nChristine was silent and Raoul resumed.", "\"Quick! Go away quickly!\"\n\nChristine was already dragging Raoul, compelling him to start running\nagain.\n\n\"But who is he? Who is that man?\" he asked.", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "Raoul uttered this \"perhaps\" with so much love and despair in his voice\nthat Christine could not keep back a sob. She took his hands and\nlooked at him with all the pure affection of which she was capable:", "\"Raoul! Raoul!\" We were now all talking at once, on either side of\nthe wall. Christine sobbed; she was not sure that she would find M. de", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "room next to his. Then Christine had not gone to bed! Without\ntroubling for a reason, Raoul dressed, taking care not to make a sound,", "Such were the cruel thoughts that haunted Raoul as he ran to the\nsinger's dressing-room.\n\n\"Christine! Christine!\"", "\"Let us run away at once,\" Raoul insisted, once more.\n\nShe hesitated. He thought that she was going to say yes... Then her\nbright pupils became dimmed and she said:", "Raoul burst out laughing. The first rays of the moon came and shrouded\nthe two young people in their light. Christine turned on Raoul with a\nhostile air. Her eyes, usually so gentle, flashed fire.", "When they took leave of each other by the roadside, Raoul, pressing a\nkiss on Christine's trembling hand, said:", "warned him, in a whisper, to remain at the back of the box and on no\naccount to show himself. Raoul took off his mask. Christine kept hers", "He filled Christine's mind, through the terror with which he inspired\nher, but the dear child's heart belonged wholly to the Vicomte Raoul de", "\"Yes, yes,\" echoed Raoul submissively, \"it's quite natural.\"\n\n\"Besides, I thought Christine had told you all that, when she met you\nat Perros, where she went with her good genius.\"", "\"No, no, you shall never again hear him tell you that he loves you!\nYou shall not see his tears! Let us fly, Christine, let us fly at\nonce!\"" ], [ "\"That is what you must promise, Christine. It is the only thing that\ncan reassure your mother and me. We will undertake not to ask you a\nsingle question about the past, if you promise us to remain under our\nprotection in future.\"", "Suddenly Christine changed color. A mortal pallor overspread her\nfeatures.\n\n\"Oh heavens!\" she cried. \"Erik! Erik! Have pity on me!\"", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "\"Provided that you promised never to leave me again! But have you\npromised that, Christine?\"\n\n\"Mamma, all this can not interest M. de Chagny.\"", "\"Then you promise to send for me sometimes, Christine?\"\n\n\"I promise.\"\n\n\"When?\"\n\n\"To-morrow.\"", "\"Mademoiselle, I shall never forget you!\"\n\nAnd he went away regretting his words, for he knew that Christine could\nnot be the wife of the Vicomte de Chagny.", "And Erik had then uttered a phrase which Christine did not quite\nunderstand:\n\n\"Yes or no! If your answer is no, everybody will be dead AND BURIED!\"", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"Why no! Why no! ... You know as well as I do that Christine couldn't\nmarry, even if she wanted to!\"", "\"No, no! There is nothing to be done with Erik except to run away!\"\n\n\"Then why, when you were able to run away, did you go back to him?\"", "\"No. He gave me his word not to be behind the walls of my dressing-room\nagain and I believe Erik's word. This room and my bedroom on the lake\nare for me, exclusively, and not to be approached by him.\"", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "\"There is no one there, Erik!\"\n\n\"I understand!\"\n\n\"No one!\"\n\n\"The man you want to marry, perhaps!\"", "This last sentence sounded very gloomily in the young man's ears. He\nat once asked:\n\n\"Madame ... where is Christine?\"\n\nAnd the old lady replied calmly:", "\"Did your father tell you that I love you, Christine, and that I can\nnot live without you?\"\n\nChristine blushed to the eyes and turned away her head. In a trembling\nvoice, she said:", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "Christine stopped, at the thought of the vision that had scared her,\nwhile the echoes of the night, which had repeated the name of Erik, now\nthrice moaned the cry:", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "And what else could Christine say but no? Would she not prefer to\nespouse death itself rather than that living corpse? She did not know\nthat on her acceptance or refusal depended the awful fate of many\nmembers of the human race!", "\"I shall die of shame!\"\n\n\"No, dear, live!\" said Christine's grave and changed voice. \"And ...\ngood-by. Good-by, Raoul ...\"" ], [ "There was one story that began:\n\n\"A king sat in a little boat on one of those deep, still lakes that\nopen like a bright eye in the midst of the Norwegian mountains ...\"\n\nAnd another:", "There was once, in a little market-town not far from Upsala, a peasant\nwho lived there with his family, digging the earth during the week and", "\"I do indeed,\" he said. \"I believe it was here that your father first\ntold it to us.\"", "had wind of the story began by saying that Joseph Buquet had been the\nvictim of a joke played by one of his assistants. And then, one after\nthe other, there came a series of incidents so curious and so", "Jammes had told her story ever so quickly, as though the ghost were at\nher heels, and was quite out of breath at the finish. A silence", "Suddenly, we heard a noise on our left. It sounded at first like a\ndoor opening and shutting in the next room; and then there was a dull", "The next morning, Mm. Richard and Moncharmin, on reaching their office,\nfound an inspector's report relating to an incident that had happened,\nthe night before, in Box Five. I give the essential part of the report:", "one ever comes, and where no one ever hears you. Then I came back to\nChristine, she was waiting for me.\"", "It was bitterly cold. The road seemed deserted and very bright under\nthe moonlight. He told the driver to wait for him patiently at the", "And, despite the care which she took to look behind her at every\nmoment, she failed to see a shadow which followed her like her own\nshadow, which stopped when she stopped, which started again when she", "had been left there for some reason or other. At last my patience was\nrewarded. One day, I saw the monster come toward me, on his knees. I", "What happened was this: Mm. Debienne and Poligny, sitting at the\ncenter of the table, had not seen the man with the death's head.\nSuddenly he began to speak.", "The hours passed slowly. It was about half-past eleven when he\ndistinctly heard some one moving, with a light, stealthy step, in the", "Soon we heard nothing more at all, for this is what happened:", "But their great treat was, in the twilight, in the great silence of the\nevening, after the sun had set in the sea, when Daae came and sat down", "\"Yes.\"\n\n\"Where?\"\n\n\"In a church yard.\"\n\nM. Mifroid gave a start, began to scrutinize Raoul again and said:", "before me and soon noticed, by my air, that something had happened. It\nasked what was the matter and I saw no reason for keeping our story\nsecret or concealing the place which you filled in my heart. Then the", "His footsteps took him to that room where he had first known suffering.\nHe tapped at the door. There was no answer. He entered, as he had", "The nearer he drew to her, the more fondly he remembered the story of\nthe little Swedish singer. Most of the details are still unknown to\nthe public.", "This happened in the afternoon, in the singer's dressing-room, where\nthey met every day and where they amused themselves by dining on three" ], [ "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "Suddenly Christine changed color. A mortal pallor overspread her\nfeatures.\n\n\"Oh heavens!\" she cried. \"Erik! Erik! Have pity on me!\"", "Christine stopped, at the thought of the vision that had scared her,\nwhile the echoes of the night, which had repeated the name of Erik, now\nthrice moaned the cry:", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "laughing at him and fleeing so swiftly that he could not touch one of\nthem. At last, everything stood still again; and he saw himself in the\nglass. But Christine had disappeared.", "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "Chagny and I recognized that this terrible lamentation came from Erik\nhimself. Christine seemed to be standing dumb with horror, without the\nstrength to cry out, while the monster was on his knees before her.", "This last sentence sounded very gloomily in the young man's ears. He\nat once asked:\n\n\"Madame ... where is Christine?\"\n\nAnd the old lady replied calmly:", "And Erik had then uttered a phrase which Christine did not quite\nunderstand:\n\n\"Yes or no! If your answer is no, everybody will be dead AND BURIED!\"", "\"I shall die of shame!\"\n\n\"No, dear, live!\" said Christine's grave and changed voice. \"And ...\ngood-by. Good-by, Raoul ...\"", "\"Why do you shake me like that?\" asked Erik, making an effort to speak\nmore connectedly. \"I tell you that I am going to die... Yes, I kissed\nher alive ...\"\n\n\"And now she is dead?\"", "Christine's narrative was again interrupted. An echo behind them\nseemed to repeat the word after her.\n\n\"Erik!\"", "de Chagny to Christine, I to Erik. I reminded him that I had saved his\nlife. But no answer, save that of our despair, of our madness: what", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "which he wore and which Christine Daae had certainly slipped on his\nfinger, when she came to bury him in accordance with her promise.", "By what means indeed but that of music? He knew Christine's story.\nAfter her father's death, she acquired a distaste of everything in" ], [ "taking up his abode there, under the Opera house, five stories below\nthe level of the ground. And the voice, the voice which I had", "The skeleton was lying near the little well, in the place where the\nAngel of Music first held Christine Daae fainting in his trembling\narms, on the night when he carried her down to the cellars of the\nopera-house.", "The Phantom of the Opera\n\n\nby\n\nGaston Leroux", "all round the Opera, which is immense, underground. I had once been\ndown into those cellars, but had stopped at the third floor, though\nthere were two lower still, large enough to hold a town. But the", "That Mr. Leroux has used, for the scene of his story, the Paris Opera\nHouse as it really is and has not created a building out of his", "\"Yes, monsieur, by an angel of the Opera; and I will tell you where he\nlives ... when we are alone.\"\n\n\"You are right, monsieur.\"", "\"M. le Commissaire, the angel is called Erik, he lives in the Opera and\nhe is the Angel of Music!\"", "amuses himself by living underground. He does things that no other man\ncould do; he knows things which nobody in the world knows.\"", "Opera. And this was the easiest thing in the world for him to do,\nbecause Erik was one of the chief contractors under Philippe Garnier,\nthe architect of the Opera, and continued to work by himself when the", "The Opera ghost really existed. He was not, as was long believed, a\ncreature of the imagination of the artists, the superstition of the", "the ghost, he only laughed. He, too, had been told of the curious\nmanifestations that seemed to point to the existence of an abnormal\nbeing, residing in one of the most mysterious corners of the Opera, and", "which he was able to render a monarch haunted by perpetual terrors, I\nneed only say that it was Erik who constructed all the famous\ntrap-doors and secret chambers and mysterious strong-boxes which were", "There was only one possible outlet, that opening into the\nLouis-Philippe room in which Erik and Christine Daae were. But, though", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "leading to the lake? ... You know the lake I mean? ... Yes, the\nunderground lake ... under the Opera.\"", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "another sovereign; and also that, as long as Erik was alive, some one\nwould know the secret of the wonderful palace. Erik's death was", "wandering, cloaked shade which, while condemning itself to live in the\ncellars of the Opera, rendered such immense services to those who, on", "bag which he calls the bag of life and death... Raoul! Raoul! Fly!\nEverything is mysterious and terrible here, and Erik will soon have", "And it was true. For several months, there had been nothing discussed\nat the Opera but this ghost in dress-clothes who stalked about the" ], [ "Just then, Carlotta made her entrance in a box facing the stage, a\nsensational entrance. Poor Christine raised her eyes upon this fresh", "Leaning over the ledge of their box, they stared at Carlotta as though\nthey did not recognize her. That infernal girl must have given the\nsignal for some catastrophe. Ah, they were waiting for the", "The uproar in the house was indescribable. If the thing had happened\nto any one but Carlotta, she would have been hooted. But everybody", "An awful silence succeeded the uproar. Carlotta's voice alone once\nmore filled the resounding house:\n\n\"I feel without alarm ...\"\n\nThe audience also felt, but not without alarm. ..", "\"What a queer girl she is!\" said one of Carlotta's friends in the\nstalls, almost aloud. \"The other day she was divine; and to-night\nshe's simply bleating. She has no experience, no training.\"", "That tragic evening was bad for everybody. Carlotta fell ill. As for\nChristine Daae, she disappeared after the performance. A fortnight\nelapsed during which she was seen neither at the Opera nor outside.", "Carlotta was received with enthusiastic applause. It was so unexpected\nand so uncalled for that those who knew nothing about the rumors looked\nat one another and asked what was happening. And this act also was\nfinished without incident.", "The truth is that, if there was a cabal, it was led by Carlotta herself\nagainst poor Christine, who had no suspicion of it. Carlotta had never", "\"Really? The night when Carlotta gave her famous 'co-ack'?\"\n\nAnd M. Mifroid, replacing his gleaming glasses on his nose, fixed the\nstage-manager with a contemplative stare.", "The famous baritone, Carolus Fonta, had hardly finished Doctor Faust's\nfirst appeal to the powers of darkness, when M. Firmin Richard, who was", "is in Carlotta's throat, in Carlotta's golden throat, in Carlotta's\ncrystal throat, as I live! What does it say? It says, 'It's I, Mr.", "in the place of La Carlotta, who was ill. No one had ever heard or\nseen anything like it.", "This was done about half an hour before the curtain rose on the first\nact of Faust. Richard showed the envelope to Moncharmin. Then he", "her debut with Faust seemed about to bring her a new success, when\nsuddenly ... a terrible thing happened.", "\"Those people are all making fools of us!\" Firmin Richard ended by\nexclaiming. \"It will be FAUST on Saturday: let us both see the\nperformance from Box Five on the grand tier!\"", "\"Ah, here's Carlotta! Carlotta did the trick!\"", "\"Well, go on!\"\n\nNo, Carlotta did not go on ... Bravely, heroically, she started afresh\non the fatal line at the end of which the toad had appeared.", "At that moment, at that identical moment, the terrible thing\nhappened... Carlotta croaked like a toad:\n\n\"Co-ack!\"", "For the girl had not yet come to; and the doctor of the theater had\njust arrived at the moment when Raoul entered at his heels. Christine,", "the catastrophe. Richard's stifled voice was heard calling to Carlotta:" ], [ "...\" Erik sobbed aloud and the Persian himself could not retain his\ntears in the presence of that masked man, who, with his shoulders", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "every note. Love, jealousy, hatred, burst out around us in harrowing\ncries. Erik's black mask made me think of the natural mask of the Moor", "Erik's emotion was so great that he had to tell the Persian not to look\nat him, for he was choking and must take off his mask. The daroga went", "He looked extremely weak and leaned against the wall, as though he were\nafraid of falling. Taking off his hat, he revealed a forehead white as\nwax. The rest of the horrible face was hidden by the mask.", "\"Erik will hear me wherever I call him. He told me so. He is a very\ncurious genius. You must not think, Raoul, that he is simply a man who", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "warned him, in a whisper, to remain at the back of the box and on no\naccount to show himself. Raoul took off his mask. Christine kept hers", "The reader knows and guesses the rest. It is all in keeping with this\nincredible and yet veracious story. Poor, unhappy Erik! Shall we pity", "by the ghost himself. Later, he learned that Erik had found, all\nprepared for him, a secret passage, long known to himself alone and\ncontrived at the time of the Paris Commune to allow the jailers to", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"Because I am in pain, Erik.\"\n\n\"I thought I had frightened you.\"\n\n\"Erik, unloose my bonds ... Am I not your prisoner?\"", "\"I hope that you said nothing about Erik, sir, because Erik's secret is\nalso Christine Daae's and to talk about one is to talk about the other!\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "Opera. And this was the easiest thing in the world for him to do,\nbecause Erik was one of the chief contractors under Philippe Garnier,\nthe architect of the Opera, and continued to work by himself when the", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "But I understood the sentence perfectly, for it corresponded in a\nterrible manner with my own dreadful thought.\n\n\"Can you tell us where Erik is?\" I asked.", "\"Who?\" he repeated angrily. \"Why, he, the man who hides behind that\nhideous mask of death! ... The evil genius of the churchyard at Perros!", "\"M. le Commissaire, the angel is called Erik, he lives in the Opera and\nhe is the Angel of Music!\"" ], [ "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "\"There is no one there, Erik!\"\n\n\"I understand!\"\n\n\"No one!\"\n\n\"The man you want to marry, perhaps!\"", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "Chagny and I recognized that this terrible lamentation came from Erik\nhimself. Christine seemed to be standing dumb with horror, without the\nstrength to cry out, while the monster was on his knees before her.", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "The Persian asked him no questions. He was quite reassured as to the\nfate of Raoul Chagny and Christine Daae; no one could have doubted the\nword of the weeping Erik that night.", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "\"What tortures? ... Who is being tortured? ... Erik, Erik, say you are\nonly trying to frighten me! ... Say it, if you love me, Erik! ... There\nare no tortures, are there?\"", "\"Erik will hear me wherever I call him. He told me so. He is a very\ncurious genius. You must not think, Raoul, that he is simply a man who", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "\"No, no! There is nothing to be done with Erik except to run away!\"\n\n\"Then why, when you were able to run away, did you go back to him?\"", "\"Well, then, it's quite simple ... Christine Daae shall leave this as\nshe pleases and come back again! ... Yes, come back again, because she\nwishes ... come back of herself, because she loves me for myself! ...\"", "And Erik had then uttered a phrase which Christine did not quite\nunderstand:\n\n\"Yes or no! If your answer is no, everybody will be dead AND BURIED!\"" ], [ "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "The Persian asked him no questions. He was quite reassured as to the\nfate of Raoul Chagny and Christine Daae; no one could have doubted the\nword of the weeping Erik that night.", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "\"But then, what are we here for?\" asked Raoul, in a transport of fever,\nimpatience and rage. \"If you can do nothing for Christine, at least\nlet me die for her!\" The Persian tried to calm the young man.", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "The Persian rose to his feet as Erik entered.\n\n\"Murderer of Count Philippe, what have you done with his brother and\nChristine Daae?\"", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"Raoul! Raoul!\" We were now all talking at once, on either side of\nthe wall. Christine sobbed; she was not sure that she would find M. de", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "\"Enough! Enough!\" cried Raoul. \"I will kill him. In Heaven's name,\nChristine, tell me where the dining-room on the lake is! I must kill\nhim!\"", "hands. What was she thinking of? Of Raoul? No, for Raoul heard her\nmurmur: \"Poor Erik!\"", "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "\"Yes, yes,\" echoed Raoul submissively, \"it's quite natural.\"\n\n\"Besides, I thought Christine had told you all that, when she met you\nat Perros, where she went with her good genius.\"", "Raoul's first thought, after Christine Daae's fantastic disappearance,\nwas to accuse Erik. He no longer doubted the almost supernatural", "Raoul jumped at the idea. He bowed to Christine and said:\n\n\"Mademoiselle, I have the honor to ask for your hand.\"", "Raoul uttered this \"perhaps\" with so much love and despair in his voice\nthat Christine could not keep back a sob. She took his hands and\nlooked at him with all the pure affection of which she was capable:", "\"Enough!\"\n\nI was crying out in concert with Christine. M. de Chagny was still on\nhis knees, praying.\n\n\"Erik! I have turned the scorpion!\"" ], [ "\"Well, then, it's quite simple ... Christine Daae shall leave this as\nshe pleases and come back again! ... Yes, come back again, because she\nwishes ... come back of herself, because she loves me for myself! ...\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "The Persian asked him no questions. He was quite reassured as to the\nfate of Raoul Chagny and Christine Daae; no one could have doubted the\nword of the weeping Erik that night.", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"That is what you must promise, Christine. It is the only thing that\ncan reassure your mother and me. We will undertake not to ask you a\nsingle question about the past, if you promise us to remain under our\nprotection in future.\"", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "\"Provided that you promised never to leave me again! But have you\npromised that, Christine?\"\n\n\"Mamma, all this can not interest M. de Chagny.\"", "\"No, no, you shall never again hear him tell you that he loves you!\nYou shall not see his tears! Let us fly, Christine, let us fly at\nonce!\"", "\"Enough!\"\n\nI was crying out in concert with Christine. M. de Chagny was still on\nhis knees, praying.\n\n\"Erik! I have turned the scorpion!\"", "\"Christine, you must love me!\"\n\nAnd Christine's voice, infinitely sad and trembling, as though\naccompanied by tears, replied:", "\"Mademoiselle, I shall never forget you!\"\n\nAnd he went away regretting his words, for he knew that Christine could\nnot be the wife of the Vicomte de Chagny.", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in" ], [ "\"Why do you shake me like that?\" asked Erik, making an effort to speak\nmore connectedly. \"I tell you that I am going to die... Yes, I kissed\nher alive ...\"\n\n\"And now she is dead?\"", "end by forgetting it; and you know that nothing can restrain Erik, not\neven Erik himself.\"", "\"Erik will hear me wherever I call him. He told me so. He is a very\ncurious genius. You must not think, Raoul, that he is simply a man who", "\"Erik is dead.\"\n\n\n\nEpilogue.", "The reader knows and guesses the rest. It is all in keeping with this\nincredible and yet veracious story. Poor, unhappy Erik! Shall we pity", "\"There is no one there, Erik!\"\n\n\"I understand!\"\n\n\"No one!\"\n\n\"The man you want to marry, perhaps!\"", "\"You will try to kill yourself again.\"\n\n\"You have given me till eleven o'clock to-morrow evening, Erik.\"\n\nThe footsteps dragged along the floor again.", "wished, there would have been none at all for you. Remember that,\nErik: I saved your life!\"", "another sovereign; and also that, as long as Erik was alive, some one\nwould know the secret of the wonderful palace. Erik's death was", "Erik staggered under this direct attack, kept silent for a moment,\ndragged himself to a chair and heaved a deep sigh. Then, speaking in\nshort phrases and gasping for breath between the words:", "\"Erik! Erik!\" I cried. \"I saved your life! Remember! ... You were\nsentenced to death! But for me, you would be dead now! ... Erik!\"", "Suddenly Christine changed color. A mortal pallor overspread her\nfeatures.\n\n\"Oh heavens!\" she cried. \"Erik! Erik! Have pity on me!\"", "sob which he gave on the threshold of the tomb. ... That sob attached\nme to the unfortunate man more than I myself suspected when saying\ngood-by to him. Poor Erik! Poor Erik!\"", "And I took advantage of the turn of conversation to speak to him of\nsomething that had long been on my mind:\n\n\"Erik,\" I asked, \"Erik, swear that ...\"", "Erik here rose solemnly. Then he continued, but, as he spoke, he was\novercome by all his former emotion and began to tremble like a leaf:", "come to see your poor Erik!' He pointed to a chair opposite him, at a\nsmall table, and I sat down, feeling greatly perturbed. However, I ate", "\"Who is Erik?\" asked the count, pressing his brother's hand.\n\n\"He is my rival. And, if he's not dead, it's a pity.\"", "\"Don't you believe it!\" he replied. \"Erik wanted money. Thinking\nhimself without the pale of humanity, he was restrained by no scruples", "And whenever some accident, some fatal event happened, I always thought\nto myself, \"I should not be surprised if that were Erik,\" even as", "He sat up and stared back at them with all the courage he possessed.\nThen he cried:\n\n\"Is that you, Erik? Man, genius, or ghost, is it you?\"" ], [ "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "This scene was described to the examining-magistrate by the count\nhimself, who did not see Raoul again until that evening, at the Opera,\na few minutes before Christine's disappearance.", "\"Raoul! Raoul!\" We were now all talking at once, on either side of\nthe wall. Christine sobbed; she was not sure that she would find M. de", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "\"Yes, yes,\" echoed Raoul submissively, \"it's quite natural.\"\n\n\"Besides, I thought Christine had told you all that, when she met you\nat Perros, where she went with her good genius.\"", "Christine seized Raoul's hands and squeezed them with incredible\nrapture. But, suddenly becoming alarmed again, she turned away her\nhead.\n\n\"Higher!\" was all she said. \"Higher still!\"", "Raoul returned to the inn feeling very weary, very low-spirited and\nvery sad. He was told that Christine had gone to her bedroom saying", "\"I felt myself fainting,\" said Christine, \"I closed my eyes. When I\nopened them, you were by my side. But the voice was there also, Raoul!", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "Raoul uttered this \"perhaps\" with so much love and despair in his voice\nthat Christine could not keep back a sob. She took his hands and\nlooked at him with all the pure affection of which she was capable:", "warned him, in a whisper, to remain at the back of the box and on no\naccount to show himself. Raoul took off his mask. Christine kept hers", "\"Hush! Hush, in Heaven's name! Suppose HE heard you, you unfortunate\nRaoul!\"\n\nAnd Christine's eyes stared wildly at everything around her.", "He filled Christine's mind, through the terror with which he inspired\nher, but the dear child's heart belonged wholly to the Vicomte Raoul de", "\"Oh, Raoul, listen, listen! ... He dragged me by my hair and then ...\nand then ... Oh, it is too horrible!\"", "\"Enough! Enough!\" cried Raoul. \"I will kill him. In Heaven's name,\nChristine, tell me where the dining-room on the lake is! I must kill\nhim!\"", "This time, Raoul and Christine turned round at the same time:\n\n\"There is some one in pain,\" said Raoul. \"Perhaps some one has been\nhurt. Did you hear?\"", "Meanwhile, Christine Daae uttered a deep sigh, which was answered by a\ngroan. She turned her head, saw Raoul and started. She looked at the", "Five minutes later, Raoul was ushered into an ill-lit room where he at\nonce recognized the good, kind face of Christine's benefactress in the", "one ever comes, and where no one ever hears you. Then I came back to\nChristine, she was waiting for me.\"", "Raoul ran back to his room and threw back the window. Christine's\nwhite form stood on the deserted quay." ], [ "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "Raoul jumped at the idea. He bowed to Christine and said:\n\n\"Mademoiselle, I have the honor to ask for your hand.\"", "Christine seized Raoul's hands and squeezed them with incredible\nrapture. But, suddenly becoming alarmed again, she turned away her\nhead.\n\n\"Higher!\" was all she said. \"Higher still!\"", "Raoul uttered this \"perhaps\" with so much love and despair in his voice\nthat Christine could not keep back a sob. She took his hands and\nlooked at him with all the pure affection of which she was capable:", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "hands. What was she thinking of? Of Raoul? No, for Raoul heard her\nmurmur: \"Poor Erik!\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "\"Christine!\"\n\n\"Raoul!\"\n\nThe young man tried to take her in his arms, but she escaped and fled\nin great disorder.", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "\"Then tell me that you will never leave me again,\" implored the widow.\n\nChristine was silent and Raoul resumed.", "\"But then, what are we here for?\" asked Raoul, in a transport of fever,\nimpatience and rage. \"If you can do nothing for Christine, at least\nlet me die for her!\" The Persian tried to calm the young man.", "\"Raoul! Raoul!\" We were now all talking at once, on either side of\nthe wall. Christine sobbed; she was not sure that she would find M. de", "Such were the cruel thoughts that haunted Raoul as he ran to the\nsinger's dressing-room.\n\n\"Christine! Christine!\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"Christine!\" groaned Raoul; and he began to sob.\n\n\"Then he bound me ... I am not allowed to die until eleven o'clock\nto-morrow evening.\"", "\"Yes, yes,\" echoed Raoul submissively, \"it's quite natural.\"\n\n\"Besides, I thought Christine had told you all that, when she met you\nat Perros, where she went with her good genius.\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"" ], [ "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "Raoul's first thought, after Christine Daae's fantastic disappearance,\nwas to accuse Erik. He no longer doubted the almost supernatural", "I continued to be greatly interested in the relations between Erik and\nChristine Daae, not from any morbid curiosity, but because of the\nterrible thought which obsessed my mind that Erik was capable of", "de Chagny, let us try to talk seriously. You believe that Mlle.\nChristine Daae has been carried off by an individual called Erik. Do\nyou know this person? Have you seen him?\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "\"Because I had to. And you will understand that when I tell you how I\nleft him.\"\n\n\"Oh, I hate him!\" cried Raoul. \"And you, Christine, tell me, do you\nhate him too?\"", "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "We were in Erik's cellar: it was here that he must keep his wine and\nperhaps his drinking-water. I knew that Erik was a great lover of good\nwine. Ah, there was plenty to drink here!", "A few days later, what was not my amazement to learn by my own eyes and\nears that Erik and Christine Daae saw each other and to catch the", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "\"I hope that you said nothing about Erik, sir, because Erik's secret is\nalso Christine Daae's and to talk about one is to talk about the other!\"", "bag which he calls the bag of life and death... Raoul! Raoul! Fly!\nEverything is mysterious and terrible here, and Erik will soon have", "By what mad road, through what passages of mystery and darkness known\nto him alone had Erik dragged that pure-souled child to the awful\nhaunt, with the Louis-Philippe room, opening out on the lake?" ], [ "\"Oh,\" said the viscount, \"those gentlemen have heard of the Opera\nghost. Well, I am in a position to state that the Opera ghost and the\nAngel of Music are one and the same person; and his real name is Erik.\"", "\"M. le Commissaire, the angel is called Erik, he lives in the Opera and\nhe is the Angel of Music!\"", "The Phantom of the Opera\n\n\nby\n\nGaston Leroux", "de Chagny, let us try to talk seriously. You believe that Mlle.\nChristine Daae has been carried off by an individual called Erik. Do\nyou know this person? Have you seen him?\"", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "\"Yes, Christine ... Yes ... I at least know the name that you thought\nto keep from me for ever ... The name of your Angel of Music,\nmademoiselle, is Erik!\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "the voice and the ghost were one. You have heard about the Opera\nghost, have you not, Raoul?\"", "A few days later, what was not my amazement to learn by my own eyes and\nears that Erik and Christine Daae saw each other and to catch the", "\"Who?\" he repeated angrily. \"Why, he, the man who hides behind that\nhideous mask of death! ... The evil genius of the churchyard at Perros!", "\"The name of the man whose accomplice you are, Mme. Giry!\"\n\n\"I am the ghost's accomplice? I? ... His accomplice in what, pray?\"", "Meanwhile, Christine Daae uttered a deep sigh, which was answered by a\ngroan. She turned her head, saw Raoul and started. She looked at the", "End of Project Gutenberg's The Phantom of the Opera, by Gaston Leroux", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "\"I beg your pardon, gentlemen. Could you tell me where Christine Daae\nis?\"\n\nAnd somebody laughed.", "\"Who then?\"\n\n\"You know as well as I do: it's Christine Daae,\" I answered.", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "\"Hush! Hush, in Heaven's name! Suppose HE heard you, you unfortunate\nRaoul!\"\n\nAnd Christine's eyes stared wildly at everything around her.", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the" ], [ "\"Ladies and gentlemen, an unprecedented event has taken place and\nthrown us into a state of the greatest alarm. Our sister-artist,\nChristine Daae, has disappeared before our eyes and nobody can tell us\nhow!\"", "that she was running the most serious dangers that evening. She\ncollected all her supporters, told them that she was threatened at that\nevening's performance with a plot organized by Christine Daae and", "On the day of the abduction of Christine Daae, I did not come to the\ntheater until rather late in the evening, trembling lest I should hear", "\"Christine!\"\n\n\"Raoul!\"\n\nThe young man tried to take her in his arms, but she escaped and fled\nin great disorder.", "Nor was the tension any less great on the stage itself. Men rushed\nfrom the wings to the spot where Christine had been singing that very\ninstant. The performance was interrupted amid the greatest disorder.", "\"Christine Daae is not the only one who suddenly disappeared to-night.\"\n\n\"Oh, nonsense!\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "This scene was described to the examining-magistrate by the count\nhimself, who did not see Raoul again until that evening, at the Opera,\na few minutes before Christine's disappearance.", "The first words of the commissary of police, on entering the managers'\noffice, were to ask after the missing prima donna.\n\n\"Is Christine Daae here?\"", "That tragic evening was bad for everybody. Carlotta fell ill. As for\nChristine Daae, she disappeared after the performance. A fortnight\nelapsed during which she was seen neither at the Opera nor outside.", "de Chagny, let us try to talk seriously. You believe that Mlle.\nChristine Daae has been carried off by an individual called Erik. Do\nyou know this person? Have you seen him?\"", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "Eleven o'clock to-morrow evening!\n\nWe were all to be blown up in the middle of the performance ... if\nChristine Daae said no!", "A few days later, what was not my amazement to learn by my own eyes and\nears that Erik and Christine Daae saw each other and to catch the", "\"By the way,\" said Moncharmin, \"they seem to be greatly interested in\nthat little Christine Daae!\"\n\n\"You know as well as I do that she has the reputation of being quite\ngood,\" said Richard.", "Meanwhile, Christine Daae uttered a deep sigh, which was answered by a\ngroan. She turned her head, saw Raoul and started. She looked at the", "\"I beg your pardon, gentlemen. Could you tell me where Christine Daae\nis?\"\n\nAnd somebody laughed.", "\"Who then?\"\n\n\"You know as well as I do: it's Christine Daae,\" I answered.", "Where had Christine gone? What witchcraft had snatched her, away\nbefore the eyes of thousands of enthusiastic onlookers and from the" ], [ "He looked extremely weak and leaned against the wall, as though he were\nafraid of falling. Taking off his hat, he revealed a forehead white as\nwax. The rest of the horrible face was hidden by the mask.", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "warned him, in a whisper, to remain at the back of the box and on no\naccount to show himself. Raoul took off his mask. Christine kept hers", "\"Who?\" he repeated angrily. \"Why, he, the man who hides behind that\nhideous mask of death! ... The evil genius of the churchyard at Perros!", "as hideous as the monster who inspired them; but they were the price of\nmy liberty. I burned his mask; and I managed so well that, even when", "movement which I was utterly unable to control, swiftly my fingers tore\naway the mask. Oh, horror, horror, horror!\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "and he employed his extraordinary gifts of dexterity and imagination,\nwhich he had received by way of compensation for his extraordinary\nuglinesss, to prey upon his fellow-men. His reason for restoring the", "large cloak and wearing a mask that hid his whole face. I made one\nlast effort; my limbs stiffened, my mouth opened to scream, but a hand", "\"Then he hissed at me. 'Ah, I frighten you, do I? ... I dare say! ...\nPerhaps you think that I have another mask, eh, and that this ... this", "The Phantom of the Opera\n\n\nby\n\nGaston Leroux", "overwhelmed him with abuse and called upon him to take off his mask, if\nit covered the face of an honest man. He replied serenely, 'You shall", "are in no danger, so long as you do not touch the mask.' And, taking me\ngently by the wrists, he forced me into a chair and then went down on", "crying for you, Christine, who have torn off my mask and who therefore\ncan never leave me again! ... As long as you thought me handsome, you", "He burst into a mad laugh, while Christine gave a disconsolate moan\nbehind her velvet mask. With a tragic gesture, she flung out her two\narms, which fixed a barrier of white flesh against the door.", "Raoul, peeping from behind the curtain, could not believe his eyes,\nwhich showed him nothing. Christine's face lit up. A smile of", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "The hour of the appointment came at last. With his face in a mask\ntrimmed with long, thick lace, looking like a pierrot in his white", "... my head is a mask? Well,' he roared, 'tear it off as you did the\nother! Come! Come along! I insist! Your hands! Your hands! Give", "every note. Love, jealousy, hatred, burst out around us in harrowing\ncries. Erik's black mask made me think of the natural mask of the Moor" ], [ "That Mr. Leroux has used, for the scene of his story, the Paris Opera\nHouse as it really is and has not created a building out of his", "Opera. And this was the easiest thing in the world for him to do,\nbecause Erik was one of the chief contractors under Philippe Garnier,\nthe architect of the Opera, and continued to work by himself when the", "\"M. le Commissaire, the angel is called Erik, he lives in the Opera and\nhe is the Angel of Music!\"", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "taking up his abode there, under the Opera house, five stories below\nthe level of the ground. And the voice, the voice which I had", "\"Yes, monsieur, by an angel of the Opera; and I will tell you where he\nlives ... when we are alone.\"\n\n\"You are right, monsieur.\"", "the Opera, even as, in their childhood, they had listened to the old\nBreton tales. Those old people remembered nothing outside the Opera.\nThey had lived there for years without number. Past managements had", "The Phantom of the Opera\n\n\nby\n\nGaston Leroux", "The skeleton was lying near the little well, in the place where the\nAngel of Music first held Christine Daae fainting in his trembling\narms, on the night when he carried her down to the cellars of the\nopera-house.", "The Opera ghost really existed. He was not, as was long believed, a\ncreature of the imagination of the artists, the superstition of the", "This scene was described to the examining-magistrate by the count\nhimself, who did not see Raoul again until that evening, at the Opera,\na few minutes before Christine's disappearance.", "Paris. Let us sing something from the Opera, Christine Daae.' He spoke\nthese last words as though he were flinging an insult at me.\"", "And it was true. For several months, there had been nothing discussed\nat the Opera but this ghost in dress-clothes who stalked about the", "The first time that Raoul saw Christine at the Opera, he was charmed by\nthe girl's beauty and by the sweet images of the past which it evoked,", "the ghost, he only laughed. He, too, had been told of the curious\nmanifestations that seemed to point to the existence of an abnormal\nbeing, residing in one of the most mysterious corners of the Opera, and", "all round the Opera, which is immense, underground. I had once been\ndown into those cellars, but had stopped at the third floor, though\nthere were two lower still, large enough to hold a town. But the", "\"There's the Opera ghost!\"", "the voice and the ghost were one. You have heard about the Opera\nghost, have you not, Raoul?\"", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "There was only one possible outlet, that opening into the\nLouis-Philippe room in which Erik and Christine Daae were. But, though" ], [ "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "\"He did break it for him, sir,\" replied Mme. Giry haughtily. \"He broke\nit for him on the grand staircase, which he ran down too fast, sir, and", "the voice and the ghost were one. You have heard about the Opera\nghost, have you not, Raoul?\"", "This scene was described to the examining-magistrate by the count\nhimself, who did not see Raoul again until that evening, at the Opera,\na few minutes before Christine's disappearance.", "the Opera. They replied that there was something worse, which was the\nGHOST. We began to laugh again, feeling sure that they were indulging\nin some joke that was intended to crown our little entertainment.", "\"You will try to kill yourself again.\"\n\n\"You have given me till eleven o'clock to-morrow evening, Erik.\"\n\nThe footsteps dragged along the floor again.", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "And it was true. For several months, there had been nothing discussed\nat the Opera but this ghost in dress-clothes who stalked about the", "powers of the Angel of Music, in this domain of the Opera in which he\nhad set up his empire. And Raoul rushed on the stage, in a mad fit of\nlove and despair.", "As for Richard, who felt himself turning red under Moncharmin's eyes,\nhe took Mme. Giry by the wrist and shook it violently. In a voice\ngrowling and rolling like thunder, he roared:", "that she was running the most serious dangers that evening. She\ncollected all her supporters, told them that she was threatened at that\nevening's performance with a plot organized by Christine Daae and", "Opera ghost himself? Who would venture to assert as much? I mention\nthe incident, not because I wish for a second to make the reader\nbelieve--or even to try to make him believe--that the ghost was capable", "quite bewildered and seemed not to understand. But, suddenly, she\nunderstood; and the Opera rang with her indignant yells, her violent\nprotests and threats.", "disappeared and that it had been stolen by the Opera ghost. I believed\nin the voice, but had never believed in the ghost. Now, however, I", "\"Why do you think that you are safer in this room than on the stage?\"\nasked Raoul. \"You heard him through the walls here, therefore he can\ncertainly hear us.\"", "\"Nothing ... I swear it is nothing.\"\n\nOnce, when they were passing before an open trapdoor on the stage,\nRaoul stopped over the dark cavity.", "Opera. And this was the easiest thing in the world for him to do,\nbecause Erik was one of the chief contractors under Philippe Garnier,\nthe architect of the Opera, and continued to work by himself when the", "uttered hideous threats against all the members of the human race! At\nlast, after hours and hours of that hell, he had that moment gone out,\nleaving her alone to reflect for the last time.", "Chagny. While they played about, like an innocent engaged couple, on\nthe upper floors of the Opera, to avoid the monster, they little\nsuspected that some one was watching over them. I was prepared to do", "\"Yes, monsieur, by an angel of the Opera; and I will tell you where he\nlives ... when we are alone.\"\n\n\"You are right, monsieur.\"" ], [ "\"But then, what are we here for?\" asked Raoul, in a transport of fever,\nimpatience and rage. \"If you can do nothing for Christine, at least\nlet me die for her!\" The Persian tried to calm the young man.", "Steps were heard and shadows glided through the darkness. The Persian\ndrew Raoul behind a set piece. They saw passing before and above them", "The Persian asked him no questions. He was quite reassured as to the\nfate of Raoul Chagny and Christine Daae; no one could have doubted the\nword of the weeping Erik that night.", "The two men waited five minutes longer. Then the Persian took Raoul up\nthe stairs again; but suddenly he stopped him with a gesture.\nSomething moved in the darkness before them.\n\n\"Flat on your stomach!\" whispered the Persian.", "The Persian rose to his feet as Erik entered.\n\n\"Murderer of Count Philippe, what have you done with his brother and\nChristine Daae?\"", "This time, the Persian took his pistol from his pocket and made a sign\nto Raoul to do as he did. He cocked the pistol.", "They were now in the center of a real deserted square, an immense\napartment ill-lit by a small lamp. The Persian stopped Raoul and, in\nthe softest of whispers, asked:", "Raoul turned to the luminous aperture. Then he saw the Persian, who\nwas still on his knees, hang by his hands from the rim of the opening,\nwith his pistol between his teeth, and slide into the cellar below.", "Raoul soon heard a dull sound, evidently produced by the fall of the\nPersian, and then dropped down.\n\nHe felt himself clasped in the Persian's arms.", "carrying Raoul and the Persian with it and suddenly hurling them from\nthe full light into the deepest darkness.", "\"Go to the Opera.\"\n\nAnd the cab drove off into the night.\n\nThe Persian had seen the poor, unfortunate Erik for the last time.\nThree weeks later, the Epoque published this advertisement:", "And the Persian, asking Raoul to deaden the sound of his footsteps, led\nhim down passages which Raoul had never seen before, even at the time\nwhen Christine used to take him for walks through that labyrinth.", "opened on the Opera cellars, which were still lit. Raoul no longer saw\nthe Persian, but he suddenly felt him by his side and heard him whisper:", "made a sign to Raoul to stand up. Raoul did so; but, as he did not\nlift his hand in front of his eyes, ready to fire, the Persian told him", "At the Persian's words, Raoul flung himself against the wall and\nlistened eagerly. But he heard nothing ... nothing ... except distant\nsteps sounding on the floor of the upper portions of the theater.", "\"What is it?\" asked Raoul.\n\nThe Persian shivered. \"It might very well be the rope by which the man\nwas hanged, and which was looked for so long.\"", "close upon his heels. With his free hand, the Persian felt the wall.\nRaoul saw him bear heavily upon the wall, just as he had pressed", "But the Persian left him no time for reflection. Telling Raoul to stay\nwhere he was, he ran up a few steps of the staircase which they had\njust left and then returned.", "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "He himself raised his pistol opposite the glass. Raoul imitated his\nmovement. With his free arm, the Persian drew the young man to his" ], [ "'You can now, Christine Daae, give to men a little of the music of\nHeaven.' I don't know how it was that Carlotta did not come to the", "\"Well, then, it's quite simple ... Christine Daae shall leave this as\nshe pleases and come back again! ... Yes, come back again, because she\nwishes ... come back of herself, because she loves me for myself! ...\"", "that he loved. He wanted to know whom he hated. To his great\nastonishment, the door opened and Christine Daae appeared, wrapped in", "\"I understand,\" he said, \"that no human being can sing as you sang the\nother evening without the intervention of some miracle. No professor\non earth can teach you such accents as those. You have heard the Angel\nof Music, Christine.\"", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in", "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "A few days later, what was not my amazement to learn by my own eyes and\nears that Erik and Christine Daae saw each other and to catch the", "fighting the most terrible adversary that you can imagine. But you\nlove Christine Daae, do you not?\"", "As she sang these first two lines, with her bunch of roses and lilacs\nin her hand, Christine, raising her head, saw the Vicomte de Chagny in", "\"Alas, madame,\" Raoul humbly replied, unable to restrain his tears,\n\"alas, I believe that Christine really does love him! ... But it is not", "Raoul, peeping from behind the curtain, could not believe his eyes,\nwhich showed him nothing. Christine's face lit up. A smile of", "\"But answer me, Christine! ... In Heaven's name, if you are alone,\nanswer me!\"\n\nThen Christine's voice whispered Raoul's name.", "Meanwhile, Christine Daae uttered a deep sigh, which was answered by a\ngroan. She turned her head, saw Raoul and started. She looked at the", "\"Christine, you must love me!\"\n\nAnd Christine's voice, infinitely sad and trembling, as though\naccompanied by tears, replied:", "warned him, in a whisper, to remain at the back of the box and on no\naccount to show himself. Raoul took off his mask. Christine kept hers", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "When I came to myself, Erik, Christine and the white horse had\ndisappeared. I felt sure that the poor girl was a prisoner in the", "\"When Christine Daae was carried off, sir, I sent word to my servant to\nbring me these pistols. I have had them a long time and they can be\nrelied upon.\"", "forty-thousand francs, of his own accord, was that he no longer wanted\nit. He had relinquished his marriage with Christine Daae. He had" ], [ "The famous baritone, Carolus Fonta, had hardly finished Doctor Faust's\nfirst appeal to the powers of darkness, when M. Firmin Richard, who was", "His grief increased and he ended by being seriously alarmed at never\nseeing her name on the program. FAUST was played without her.", "An awful silence succeeded the uproar. Carlotta's voice alone once\nmore filled the resounding house:\n\n\"I feel without alarm ...\"\n\nThe audience also felt, but not without alarm. ..", "her debut with Faust seemed about to bring her a new success, when\nsuddenly ... a terrible thing happened.", "This was done about half an hour before the curtain rose on the first\nact of Faust. Richard showed the envelope to Moncharmin. Then he", "he could not speak. But suddenly he acted. First, his left arm seized\nupon the quaint person of Mme. Giry and made her describe so unexpected", "On the other hand, when Margarita crossed the stage and sang the only\ntwo lines allotted her in this second act:", "\"Ladies and gentlemen, an unprecedented event has taken place and\nthrown us into a state of the greatest alarm. Our sister-artist,\nChristine Daae, has disappeared before our eyes and nobody can tell us\nhow!\"", "They were giving FAUST, as it happened, before a splendid house. The\nFaubourg was magnificently represented; and the paragraph in that", "\"Those people are all making fools of us!\" Firmin Richard ended by\nexclaiming. \"It will be FAUST on Saturday: let us both see the\nperformance from Box Five on the grand tier!\"", "That tragic evening was bad for everybody. Carlotta fell ill. As for\nChristine Daae, she disappeared after the performance. A fortnight\nelapsed during which she was seen neither at the Opera nor outside.", "But the real triumph was reserved for Christine Daae, who had begun by\nsinging a few passages from Romeo and Juliet. It was the first time", "theater that night nor why I was called upon to sing in her stead; but\nI sang with a rapture I had never known before and I felt for a moment\nas if my soul were leaving my body!\"", "Christine Daae did not say a word: she moved about noiselessly, like a\nsister of charity, who had taken a vow of silence. She brought a cup", "his box; and, from that moment, her voice seemed less sure, less\ncrystal-clear than usual. Something seemed to deaden and dull her\nsinging...", "This was said in so rough and solemn a tone that, for a moment, M.\nRichard was impressed. He looked at Mme. Giry, in her faded shawl, her", "quite bewildered and seemed not to understand. But, suddenly, she\nunderstood; and the Opera rang with her indignant yells, her violent\nprotests and threats.", "\"What a queer girl she is!\" said one of Carlotta's friends in the\nstalls, almost aloud. \"The other day she was divine; and to-night\nshe's simply bleating. She has no experience, no training.\"", "\"Mamma!\" the girl broke in promptly, while a deep blush mantled to her\neyes. \"I thought, mamma, that there was to be no more question of\nthat! ... You know there is no such thing as the Angel of Music!\"", "The voice was singing the Wedding-night Song from Romeo and Juliet.\nRaoul saw Christine stretch out her arms to the voice as she had done," ], [ "Hideous thoughts flashed through Raoul's congested brain. Of course,\nErik must have discovered their secret, must have known that Christine\nhad played him false. What a vengeance would be his!", "I continued to be greatly interested in the relations between Erik and\nChristine Daae, not from any morbid curiosity, but because of the\nterrible thought which obsessed my mind that Erik was capable of", "\"Erik will hear me wherever I call him. He told me so. He is a very\ncurious genius. You must not think, Raoul, that he is simply a man who", "\"No, no! There is nothing to be done with Erik except to run away!\"\n\n\"Then why, when you were able to run away, did you go back to him?\"", "\"Because I am in pain, Erik.\"\n\n\"I thought I had frightened you.\"\n\n\"Erik, unloose my bonds ... Am I not your prisoner?\"", "\"There is no one there, Erik!\"\n\n\"I understand!\"\n\n\"No one!\"\n\n\"The man you want to marry, perhaps!\"", "that Erik had gone quite mad with love and that he had decided TO KILL\nEVERYBODY AND HIMSELF WITH EVERYBODY if she did not consent to become", "\"Who is Erik?\" asked the count, pressing his brother's hand.\n\n\"He is my rival. And, if he's not dead, it's a pity.\"", "Raoul's first thought, after Christine Daae's fantastic disappearance,\nwas to accuse Erik. He no longer doubted the almost supernatural", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "concerning the crime and the criminal. Knowing Erik as he did, he\neasily reconstructed the tragedy. Thinking that his brother had run", "The reader knows and guesses the rest. It is all in keeping with this\nincredible and yet veracious story. Poor, unhappy Erik! Shall we pity", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "end by forgetting it; and you know that nothing can restrain Erik, not\neven Erik himself.\"", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "\"Why do you shake me like that?\" asked Erik, making an effort to speak\nmore connectedly. \"I tell you that I am going to die... Yes, I kissed\nher alive ...\"\n\n\"And now she is dead?\"", "Ever since I had discovered Erik installed in the Opera, I lived in a\nperpetual terror of his horrible fancies, not in so far as I was\nconcerned, but I dreaded everything for others.[3]", "Suddenly Christine changed color. A mortal pallor overspread her\nfeatures.\n\n\"Oh heavens!\" she cried. \"Erik! Erik! Have pity on me!\"", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "wished, there would have been none at all for you. Remember that,\nErik: I saved your life!\"" ], [ "\"Then, sir, stay here, for Christine Daae is here!\"\n\n\"With Erik?\"\n\n\"With Erik.\"\n\n\"How do you know?\"", "Erik left the room for a moment, and the Persian raised himself on his\nelbow, looked around him and saw Christine Daae sitting by the", "We heard his steps approaching the Louis-Philippe room. He came up to\nChristine, but did not speak. Then I raised my voice:\n\n\"Erik! It is I! Do you know me?\"", "Then Christine gave way to fear. She trembled lest Erik should\ndiscover where Raoul was hidden; she told us in a few hurried words", "\"But one can find out where he lives. One can go in search of him.\nNow that we know that Erik is not a ghost, one can speak to him and\nforce him to answer!\"\n\nChristine shook her head.", "\"You are frightened ... but do you love me? If Erik were good-looking,\nwould you love me, Christine?\"", "\"By pitying him the other night, the night of the masked ball. When\nyou went to your dressing-room, did you not say, 'Poor Erik?' Well,\nChristine, there was a poor Raoul who overheard you.\"", "Suddenly Christine changed color. A mortal pallor overspread her\nfeatures.\n\n\"Oh heavens!\" she cried. \"Erik! Erik! Have pity on me!\"", "\"But answer me, Christine! ... In Heaven's name, if you are alone,\nanswer me!\"\n\nThen Christine's voice whispered Raoul's name.", "\"That is what you must promise, Christine. It is the only thing that\ncan reassure your mother and me. We will undertake not to ask you a\nsingle question about the past, if you promise us to remain under our\nprotection in future.\"", "And Erik had then uttered a phrase which Christine did not quite\nunderstand:\n\n\"Yes or no! If your answer is no, everybody will be dead AND BURIED!\"", "Raoul jumped at the idea. He bowed to Christine and said:\n\n\"Mademoiselle, I have the honor to ask for your hand.\"", "\"Christine, you must love me!\"\n\nAnd Christine's voice, infinitely sad and trembling, as though\naccompanied by tears, replied:", "\"Erik! Erik!\" said Christine's voice. \"You tire me with your voice.\nDon't go on, Erik! Isn't it very hot here?\"", "\"Christine,\" said Raoul, rising, \"you tell me that you love me; but you\nhad recovered your liberty hardly a few hours before you returned to\nErik! Remember the masked ball!\"", "fighting the most terrible adversary that you can imagine. But you\nlove Christine Daae, do you not?\"", "\"If you can do me that service, sir, my life is yours! ... One word\nmore: the commissary of police tells me that Christine Daae has been\ncarried off by my brother, Count Philippe.\"", "Chagny and I recognized that this terrible lamentation came from Erik\nhimself. Christine seemed to be standing dumb with horror, without the\nstrength to cry out, while the monster was on his knees before her.", "This last sentence sounded very gloomily in the young man's ears. He\nat once asked:\n\n\"Madame ... where is Christine?\"\n\nAnd the old lady replied calmly:", "\"Very well, you shall see that to-night. Come to the masked ball.\nChristine and I will go and have a look round. Then you can hide in" ] ]

[ "What opera was being performed at the Paris Opera?", "Who lost her voice during a performance?", "Where is Raoul and the Persian trapped by Erik?", "Why does Erik change his plans and decided to keep Christine forever?", "What does Christine want to do before leaving with Raoul?", "What did Christine promise not to do after marrying Erik?", "Where did this story take place?", "What does Christine return when Erik died?", "Where does the Phantom live?", "What happens to Carlotta during the performance of Faust?", "Why does Erik wear a mask?", "How does Erik convince Christine to marry him?", "What does Christine do to convince Erik to not kill Raoul and the Persian?", "What promise does Erik ask Christine to make before she leaves for the last time near the end of the story?", "What does Erik say he will soon die of?", "Where does Christine tell Raoul about her abduction?", "What does Christine want to do for Erik before Raoul takes her away?", "Why does Erik initially kidnap Christine and plan to keep her in his lair for a few days?", "What is the name of the Phantom?", "During a performance of what play is Christine kidnapped?", "Why does the Phantom wear a mask?", "At which opera house is the Phantom living?", "How did the Phantom threaten to destroy the opera house?", "How did the Phantom try to Kill Raoul and the Persian?", "What does the Phantom give Christine?", "Who loses her voice during the first performance of Faust?", "Why does Erik become jealous?", "What does Christine offer to do for Erik?" ]

[ [ "Faust", "Faust" ], [ "Carlotta", "Carlotta" ], [ "torture chamber", "A hot torture chamber " ], [ "She unmasked him and sees his face. ", "She unmasks his face." ], [ "She wants to sing a song for Erik.", "Sing a song for Erik." ], [ "kill herself", "commit suicide" ], [ "Paris Opera", "at the opera house in Paris" ], [ "the gold ring", "A gold ring he gave her." ], [ "The Phantom lives in the cellars of the opera house.", "In the cellars of the opera." ], [ "She loses her voice. ", "She loses her voice." ], [ "He has a badly deformed, hideous face.", "To cover up his disfigured face " ], [ "He threatens to set off explosives in the opera house and has trapped Raoul in a torture chamber. ", "He traps Raoul and the Persian" ], [ "She promises to not kill herself after marrying him. ", "She agrees to marry him " ], [ "Erik asks that Christine visit him on his death day and return his ring. ", "that she will visit him on his dying day and return the gold ring to him" ], [ "Erik says he will die of love. ", "love" ], [ "Christine tells Raoul about her abduction on the roof of the opera house. ", "Roof of the opera house." ], [ "Christine wants to sing one last song for Erik. ", "marry" ], [ "He hopes that she will eventually fall in love with him. ", "he hopes she will fall in love with him" ], [ "Erik", "Erik" ], [ "Faust", "Faust" ], [ "To hide his disfigured face", "His face is disfigured" ], [ "The Paris Opera", "The Paris Opera" ], [ "With explosives", "explosives" ], [ "Drowning them with the water that would douse the explosives", "torture chamber" ], [ "A gold ring", "a gold ring" ], [ "Carlotta", "Carlotta" ], [ "He was listening to Christine and Raoul planning to escape", "eveasdropping" ], [ "Become his \"Living bride\"", "To be his living bride." ] ]

[ [ "Joel sits on the bench waiting for a train. Clementine\nenters the platform, sees Joel, the only other person there.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "Joel, now the size of a junior high school kid and dressed\naccordingly, is peering around the corner of the school\nbuilding toward the bike rack. Clementine is with him,\ndressed as she was in the parked car.", "INT. BAR - NIGHT\n\nIt's noisy and crowded. Joel and Clementine sit at a small\ntable. She is drunk and staring off, blankly.", "VOICE-OVER\n\tI met someone tonight at a party on the\n\tbeach. Her name is Clementine. There is\n\tsomething alive about her.\n\nNaomi turns over in bed, sees Joel.", "Clementine looks around the place. Her eyes meet Joel's\nbefore he is able to look away. She smiles vaguely. He", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Joel sits at the far end of the empty car and watches the\nslowly passing desolate terrain. After a moment the door\nbetween cars opens and Clementine enters. Joel looks up.", "Joel and Clementine are hiking, Clementine in front.\n\n\t\tCLEMENTINE\n\tSuch a beautiful view.", "Joel and Clementine eat dinner in silence. Joel looks around\nat other couples in the restaurant. Some seem happy and\nengaged. Others seem bored with each other. He turns back\nto his food.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "JOEL (CONT'D)\n\t\t(shyly formal)\n\tSo, I enjoyed meeting you.\n\n\t\tCLEMENTINE\n\tYou'll call me, right?", "INT. RESTAURANT - NIGHT\n\nJoel and Clementine are laughing as she blows out the candle\non a slice of cheesecake in front of her. Joel hands her a\nsmall wrapped box.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "Joel finds himself eating Chinese food and sitting across\nfrom Clementine. He is ragged and jarred.", "JOEL\n\tRockville Center.\n\n\t\tCLEMENTINE\n\tGet out! Me too! What are the odds?", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT" ], [ "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "pulls another file out. This one has Joel's name on it. She\ncopies it onto an envelope.", "Joel enters with his mail. He opens a manila envelope, reads\nthe enclosed file, sticks the cassette tape in his stereo,\nlistens. Joel dials the phone.", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "Joel, snapped into a new memory, cries as he fills two large\nplastic garbage bags with mementos of his relationship with", "JOEL\n\tThey can't erase memories. It's a joke.\n\tIt's a nasty Clementine hoax.\n\n\t\tCARRIE\n\tSweetie, we called the company.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "Joel puts on his overcoat. Clementine heads to the phone\ntable, pulls out a notepad.", "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "Joel and Clementine pull up to Clementine's house.\n\n\t\tJOEL\n\tI dropped you off after. You said --", "CLEMENTINE\n\tReally? Is he cute?\n\n\t\tJOEL\n\tHe stole a pair of your panties while you\n\twere being erased!", "We see people going to their mailboxes, finding manila\nenvelopes. One by one they open the envelopes and pull out\ntapes. We see stunned, confused, disbelieving reactions as\npeople listen to their tapes.", "INT. RESTAURANT - NIGHT\n\nJoel and Clementine are laughing as she blows out the candle\non a slice of cheesecake in front of her. Joel hands her a\nsmall wrapped box.", "Joel and Clementine sit and eat dinner in front of the TV.\nIt's hard to make out what they're watching.\nThey sit on opposite ends of the couch. They look bored.\nThe scene quickly degenerates. The room fades." ], [ "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "STAN\n\tThe office is filled with people who want\n\ttheir memories re-erased.\n\n\t\tMARY\n\t\t(hysterically)\n\tRemember the Alamo! Remember the Alamo!", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "MIERZWIAK\n\tIt was a mutual decision.\n\n\t\tMARY\n\tYou made me have you erased! I loved\n\tyou. I love you! How could you --", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "Mary, with a headset on, looks up, startled. She switches\noff the tape. She has been crying. There's a pile of tapes\nnext to her. The distraught woman is standing there.", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "STAN (CONT'D)\n\tIt's not erasing. He's off the screen.\n\n\t\tMARY\n\tWhere?", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "Mary shakes her head \"no.\" She walks off, dazed.\n\nEXT. CHARLES RIVER - NIGHT", "She smiles and nods. It's clear she's in love. It's equally\nclear that Mierzwiak doesn't have a clue. Mary turns to\nleave.", "MARY\n\tAnd after that?\n\n\t\tSTAN\n\tI never saw you together like that again.\n\tSo I figured I was imagining things.\n\nMary says nothing.", "Another old woman enters the office. Old Mary looks up,\nseems a bit startled, conceals it, turns off the tape.", "The mother backs out, closes the door. Joel cringes.\nClementine laughs, still in the mode of the memory she was\nswiped from. Flash! It's all gone.", "MARY\n\t\t(heroically)\n\tMrs. Mierzwiak, it's true. And it's not", "He shuffles inside. Mary stands there, unable to digest\nthis, struggling in vain to remember. Stan watches.\n\n\t\tSTAN\n\tLet me take you home." ], [ "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "INT. CAR - MOMENTS LATER\n\nJoel drives. He passes Clementine walking. She looks cold.\nHe considers, slows, rolls down his window.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "Joel, now the size of a junior high school kid and dressed\naccordingly, is peering around the corner of the school\nbuilding toward the bike rack. Clementine is with him,\ndressed as she was in the parked car.", "Joel climbs stairs, searches the aisle, spots Clementine.\n\n\t\tJOEL\n\tHi.\n\nShe turns.", "Joel rises and heads toward Clementine.", "She looks at him really hard for a long moment. Joel tries\nto hold her gaze, but can't. He looks down at his drink.\nClementine starts to cry again.", "Clementine looks around the place. Her eyes meet Joel's\nbefore he is able to look away. She smiles vaguely. He", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Joel sits on the bench waiting for a train. Clementine\nenters the platform, sees Joel, the only other person there.", "CLEMENTINE\n\tYes, exactly. Exactly my point.\n\nINT. CLEMENTINE'S APARTMENT - NIGHT\n\nJoel and Clementine are in the midst of awkward shy sex.", "Joel doesn't know what to say as this registers. He just\nstands there dumbly.\n\n\t\tCLEMENTINE'S VOICE (CONT'D)\n\tCome over here, sweetheart. Please.", "VOICE-OVER\n\tI met someone tonight at a party on the\n\tbeach. Her name is Clementine. There is\n\tsomething alive about her.\n\nNaomi turns over in bed, sees Joel.", "JOEL (CONT'D)\n\t\t(shyly formal)\n\tSo, I enjoyed meeting you.\n\n\t\tCLEMENTINE\n\tYou'll call me, right?", "EXT. CLEMENTINE'S APARTMENT - DAY\n\nJoel drops Clementine off. She kisses him.", "INT. BAR - NIGHT\n\nIt's noisy and crowded. Joel and Clementine sit at a small\ntable. She is drunk and staring off, blankly." ], [ "STAN\n\tThe office is filled with people who want\n\ttheir memories re-erased.\n\n\t\tMARY\n\t\t(hysterically)\n\tRemember the Alamo! Remember the Alamo!", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "STAN\n\tWe use the articles you brought to create\n\ta map of Clementine in your brain.\n\tTonight while you sleep we'll be able to\n\ttrace the map and erase.", "Mierzwiak works the equipment. He has located a small area\nof light in the brain imaging and eradicates them.", "JOEL\n\tThey can't erase memories. It's a joke.\n\tIt's a nasty Clementine hoax.\n\n\t\tCARRIE\n\tSweetie, we called the company.", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "emotional core to each of our memories --\n\tAs we eradicate this core, it starts its\n\tdegradation process -- By the time you", "Eternal Sunshine of the Spotless Mind", "JOEL\n\tMy name is Joel Barish. I have an\n\tappointment.\n\n\t\tMARY\n\tPlease have a seat. Dr. Mierzwiak will\n\tbe right with you.", "It's deathly silent as Mierzwiak and Stan work on completing\nthe job. Mierzwiak locates a light hidden very deep in the\nmap of Joel's brain. He targets it.", "Joel pulls away from the window, his face blanched.\n\n\t\tVOICE-OVER\n\tI guess they figure they can act like\n\tthey want. They don't have to worry\n\tabout me remembering.", "The machine clicks off. One of the technicians reaches over\nand presses the \"erase\" button on the machine.\n\nBLACK.\n\nTHE END", "MIERZWIAK\n\tWell, technically, the procedure itself\n\tis brain damage, but on a par with a\n\tnight of heavy drinking. Nothing you'll\n\tmiss.", "previous interactions with Clementine playing out in loops.\nHe looks back and sees the memory of his ride home from the\nbeach with Rob and Carrie. It, too, is decaying. Soon all", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether." ], [ "She smiles and nods. It's clear she's in love. It's equally\nclear that Mierzwiak doesn't have a clue. Mary turns to\nleave.", "He leans in to kiss her. She cranes her neck to keep him\noff.\n\n\t\tMARY\n\t\t(reprimanding whisper)\n\tStan... c'mon...", "The doorbell buzzes. Mary lunges for the door, then calms\nherself before opening it. Mierzwiak, holding an equipment\nbag, looks surprised.", "Mary sits on the bed.\n\n\t\tMARY\n\t\t(a little giggly)\n\tI like watching you work.\n\nStan sighs, grabs his coat.", "Mary opens the door, peeks in. Howard Mierzwiak, 40's,\nprofessional, dry, sits behind his desk studying some papers.", "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "Mary, in shock, sits in the empty fluorescent car. She tries\nto look out the window but can only see her own reflection.\n\nINT. JOEL'S BEDROOM - NIGHT", "STAN\n\tYou love him, don't you?\n\nMary seems surprised, taken aback, caught. She is silent for\na long moment.", "lit window, watches Mierzwiak and Mary inside. Mierzwiak's\nresolve has apparently weakened and he and Mary kiss again.\nThis time it leads to groping, partial undressing, and", "Mierzwiak looks from Mary to Stan, nods, and enters. Mary\ncloses the door. Mierzwiak crosses to the equipment.", "STAN\n\tHey, you.\n\nStan and Mary kiss. She looks down at Joel as she takes off\nher coat.\n\n\t\tMARY\n\tIt's freezing out.", "She leans over and kisses him, then pulls away quickly.\n\n\t\tMARY\n\tI've loved you for a very long time. I'm\n\tsorry! I shouldn't have said that.", "INT. JOEL'S APARTMENT - NIGHT\n\nJoel is unconscious on the bed, completely still. Mary and\nStan watch the monitor and smoke a joint. After a silence:", "MARY\n\t\t(coolly)\n\tOh, hey, Patrick.\n\n\t\tPATRICK\n\tHi, Mary. How's it going?\n\nShe walks past him.", "MARY\n\tNo.\n\t\t(beat)\n\tBesides, Howard's married, Stan. He's a", "MARY (CONT'D)\n\tYou're nice.\n\t\t(beat)\n\tBut I love him. I knew I loved him. Now\n\tI know.", "Stan is on the phone. He's really stoned and watches Mary,\nstoned herself, dancing in a sexy trance to something soft\nand low on the stereo.", "MARY\n\tThey have a right to know. Howard is a\n\tthief. He steals the truth.\n\t\t(suddenly weeping)", "MARY\n\tNo you're right. Once again. You're a\n\tdecent man, Howard.\n\nHe smiles sadly at her. She smiles courageously at him." ], [ "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine.", "Joel is paying the bartender. He turns with the drink to\nhead back to the table. He sees Clementine flirting with a\nman in Joel's seat.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "CLEMENTINE\n\tYes, exactly. Exactly my point.\n\nINT. CLEMENTINE'S APARTMENT - NIGHT\n\nJoel and Clementine are in the midst of awkward shy sex.", "JOEL\n\tNo, see, Clem, I assume you fucked\n\tsomeone tonight. Isn't that how you get\n\tpeople to like you?", "Joel doesn't know what to say as this registers. He just\nstands there dumbly.\n\n\t\tCLEMENTINE'S VOICE (CONT'D)\n\tCome over here, sweetheart. Please.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "Joel, now the size of a junior high school kid and dressed\naccordingly, is peering around the corner of the school\nbuilding toward the bike rack. Clementine is with him,\ndressed as she was in the parked car.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "Joel rises and heads toward Clementine.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "Joel is mesmerized by their familiarity. As he stands there,\nthe scene starts to dry out.\nClementine and Patrick continue their flirtation but it's", "Joel puts on his overcoat. Clementine heads to the phone\ntable, pulls out a notepad.", "Joel and Clementine are in the playpen. Joel's oversized\nmother reaches down as she hurries by and pats Joel on the\nhead.\n\n\t\tMOTHER\n\tHow's my baby boy?", "Joel, the size of a ten year old, sits fishing with his\noversized father. Clementine is naked and in the boat, too.\nShe's reading The Play by Stephen Dixon.", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "Joel finds himself eating Chinese food and sitting across\nfrom Clementine. He is ragged and jarred." ], [ "Clementine looks over at him, smiles. Her brow furrows in\nthought.\n\n\t\tCLEMENTINE\n\tWhat if you hide me?\n\n\t\tJOEL\n\tWhat do you mean?", "He starts to have a fit, banging against trees, stomping his\nfeet, screaming. But even while he's doing this the memory\nand Clementine are fading around him.", "Clementine holds his hand. He looks over at her.", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "He starts to cry. Clementine tries to comfort him. She hugs\nhim.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "CLEMENTINE\n\tAnd, anyway, you sell yourself short. I\n\tcan tell. There's a lot of stuff going\n\ton in your brain. I can tell. My\n\tgoal... can I tell you my goal?", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "He looks down and Clementine's tear-streaked face is fading.\nShe continues as if she's still being made love to, even\nthough Joel is completely beside himself. He jumps up naked\nand yells at the ceiling.", "Clementine looks over at him. Their eyes meet. She sobs.\n\n\t\tCLEMENTINE\n\tI want to go home.", "Clementine keeps talking but there are no more intelligible\nwords, just a whisper -- like a breeze.\n\nA doorbell buzzes. Joel looks up.", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "CLEMENTINE\n\tI'm glad.\n\nTheir eyes lock. She is fading before his eyes.\n\n\t\tJOEL\n\tMe, too.", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before.", "Clementine is not looking at him; she busies herself deciding\nwhere to sit. She settles on a seat at the opposite end of\nthe car. Joel looks out the window. He feels her watching", "Mierzwiak directs Clementine to a chair next to a coffee\ntable and a conspicuously placed box of tissues. Mierzwiak\nsits across from her. He smiles.", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine." ], [ "beach, laughing and holding hands at a movie, eating grilled\ncheese and tomato soup together in bed, Joel watching her\nsleep, them drinking at a bar. He arrives at a decayed", "She kisses him and they walk holding hands.\n\n\t\tJOEL\n\t\t(pointing)\n\tThat's where I live. Lived.", "She waves, sort of goofily enthusiastic, playing as if\nthey're old friends. He waves back, embarrassed. She takes\na seat on a bench far down the platform. Joel stares at his", "EXT. CHARLES RIVER - NIGHT\n\nJoel and Clementine lie together holding hands on the frozen\nriver. They look up at the stars.", "INT. CLEMENTINE'S APARTMENT - NIGHT\n\nCandles are lit. Joel and Clementine are under a blanket on\nthe living room rug listening to music.", "It's raining out. Joel is reading, slouched in a chair. He\nlooks over at Clementine, stretched out on her belly in her\nunderwear. She's reading, too.", "She leans across the table to kiss him. He grabs her and\nruns through the decaying scene and into the vague night.\n\nEXT. SUBURBAN STREET - DAY", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "She smiles and nods. It's clear she's in love. It's equally\nclear that Mierzwiak doesn't have a clue. Mary turns to\nleave.", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine.", "He hesitates then gingerly makes his way over to her. She\nreaches for his hand and gently pulls him down. He lies on", "He sits with Clementine in the parked car, outside a drive-in\nmovie theater. The movie on the giant screen is partially\nobscured by a fence. Joel and Clementine drink wine.", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before.", "Joel and Clementine eat dinner in silence. Joel looks around\nat other couples in the restaurant. Some seem happy and\nengaged. Others seem bored with each other. He turns back\nto his food.", "Joel and Clementine sit and eat dinner in front of the TV.\nIt's hard to make out what they're watching.\nThey sit on opposite ends of the couch. They look bored.\nThe scene quickly degenerates. The room fades.", "INT. RESTAURANT - NIGHT\n\nJoel and Clementine are laughing as she blows out the candle\non a slice of cheesecake in front of her. Joel hands her a\nsmall wrapped box.", "Clementine is not looking at him; she busies herself deciding\nwhere to sit. She settles on a seat at the opposite end of\nthe car. Joel looks out the window. He feels her watching", "Stan is on the phone. He's really stoned and watches Mary,\nstoned herself, dancing in a sexy trance to something soft\nand low on the stereo.", "JOEL\n\tYou're so beautiful.\n\nShe approaches him, kisses him, his arms wrap around her\nwaist for the first time.", "She sits back on the couch, closes her eyes. Joel watches\nher, looks at her breasts. She opens her eyes, smiles\ndrunkenly at him." ], [ "Joel sits on the bench waiting for a train. Clementine\nenters the platform, sees Joel, the only other person there.", "INT. TRAIN - LATER\n\nIt's dark out. The train is pretty crowded. Joel stares out\nthe window. Clementine sits closer still to Joel, eyes him.", "INT. TRAIN - LATER\n\nThere are a few more people in the car now. Clementine has\ninched a few seats closer to Joel. She watches him. His\nhead is immersed in his journal.", "Joel turns and makes his way through the crowd. He climbs\nthe stairs, crosses the overpass and makes his way to the\nempty platform. An almost empty train pulls into that", "Joel sits at the far end of the empty car and watches the\nslowly passing desolate terrain. After a moment the door\nbetween cars opens and Clementine enters. Joel looks up.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "Clementine is not looking at him; she busies herself deciding\nwhere to sit. She settles on a seat at the opposite end of\nthe car. Joel looks out the window. He feels her watching", "The platform is crowded with business commuters. Joel is\namong them.\nThe platform across the tracks from them is empty. Suddenly,", "She waves, sort of goofily enthusiastic, playing as if\nthey're old friends. He waves back, embarrassed. She takes\na seat on a bench far down the platform. Joel stares at his", "Joel waits on the crowded platform. The platform across the\ntracks is empty. Joel's train arrives. It's packed. He\nsqueezes on with all the other commuters.", "Joel awakens. The apartment is neat, like when he went to\nsleep. He gets out of bed and heads into the bathroom.\n\nEXT. COMMUTER TRAIN STATION - MORNING", "platform. Soon an almost empty train pulls up to that\nplatform. Joel gets on and watches the business commuters\nthrough the dirty window as his train pulls out of the\nstation.", "INT. CLEMENTINE'S APARTMENT - NIGHT\n\nClementine lies in bed with Patrick.\n\nEXT. COMMUTER TRAIN STATION - MORNING", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "INT. CAR - MOMENTS LATER\n\nJoel drives. He passes Clementine walking. She looks cold.\nHe considers, slows, rolls down his window.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "Joel, now the size of a junior high school kid and dressed\naccordingly, is peering around the corner of the school\nbuilding toward the bike rack. Clementine is with him,\ndressed as she was in the parked car.", "VOICE-OVER\n\tI met someone tonight at a party on the\n\tbeach. Her name is Clementine. There is\n\tsomething alive about her.\n\nNaomi turns over in bed, sees Joel." ], [ "Clementine enters. She's in her early thirties, zaftig in a\nfaux fur winter coat over an orange hooded sweatshirt. She's", "INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER", "Clementine sits. She looks tired, maybe hungover. She picks\nup a magazine at random and thumbs without interest.\n\nINT. INNER OFFICE AREA - CONTINUOUS", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "the books on her shelves. Clementine is in the kitchen. We\nsee her as she passes by the doorway several times, preparing\ndrinks and chatting.", "The old woman is staring off blankly, her giant manuscript in\nher lap, as she travels over the New York skyline. We move\ninto her eyes.\n\nINT. VAGUE SPACE", "MIERZWIAK\n\tMs. Kruczynski, please come in.\n\nClementine enters the office. Mary smiles at Mierzwiak and\ncloses the door, leaving them alone.", "CLEMENTINE\n\tUcch, really? You're kidding. God.\n\tBizarre small world, huh? Yeah, that's\n\tme: book slave there for, like, five\n\tyears now.", "A live bird watches from a tree. Clementine, still dressed\nfor her birthday dinner (wearing her new bracelet), pulls\nJoel away from the other boys. The two of them walk down\nJoel's suburban street.", "Clementine watches out the window as Patrick nears. She's\ncrying. He makes his way up her front stairs. She swings\nopen the door and hugs him.", "Mierzwiak directs Clementine to a chair next to a coffee\ntable and a conspicuously placed box of tissues. Mierzwiak\nsits across from her. He smiles.", "CLEMENTINE\n\t\t(heading toward other end of\n\t\t car)\n\tUnless I get that hair-color-naming job.\n\nClementine sits and stares out the window.", "She is wearing the black dress.\n\n\t\tCLEMENTINE\n\tNo, you were with me when I bought that.\n\tAt that place on East 6th. It was later.", "sweatshirt. It's Clementine. He watches her for a bit, then\nas she nears, he goes back to his writing, or at least", "JOEL\n\tIs there a Clementine who works here?\n\n\t\tMALE EMPLOYEE #1\n\t\t(calling to another male\n\t\t employee)\n\tMark, is Clem on tonight?", "It's grand and modern. Random House-Knopf-Taschen is etched\non the wall in large gold letters. An old woman enters", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before.", "CLEMENTINE\n\tAh, the hair.\n\t\t(pulls a strand in front of her\n\t\t eyes, studies it)", "JOEL\n\tRockville Center.\n\n\t\tCLEMENTINE\n\tGet out! Me too! What are the odds?", "CLEMENTINE\n\t\t(approaching reception area)\n\tYeah, hi, I have a one o'clock with Dr.\n\tMierzwiak. Clementine Kruczynski." ], [ "Lacuna Ltd.\n\t\t 610 11th Avenue, NY, NY\n\nJoel stares at the card, incredulous.", "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "VOICE-OVER\n\tLacuna: Noun. A blank, a missing\n\tportion, especially in a manuscript.\n\nINT. JOEL'S APARTMENT - NIGHT", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "Mierzwiak directs Clementine to a chair next to a coffee\ntable and a conspicuously placed box of tissues. Mierzwiak\nsits across from her. He smiles.", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "STAN\n\tWe use the articles you brought to create\n\ta map of Clementine in your brain.\n\tTonight while you sleep we'll be able to\n\ttrace the map and erase.", "The old woman is staring off blankly, her giant manuscript in\nher lap, as she travels over the New York skyline. We move\ninto her eyes.\n\nINT. VAGUE SPACE", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "JOEL\n\tThis was our first time.\n\nThe scene starts to fade. Joel watches Clementine disappear.\n\nINT. LACUNA RECEPTION AREA - NIGHT", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "Joel looks for an office number. He finds it. The plaque on\nthe door reads Lacuna Ltd. Joel enters.\n\nINT. WAITING ROOM - DAY", "the books on her shelves. Clementine is in the kitchen. We\nsee her as she passes by the doorway several times, preparing\ndrinks and chatting.", "She is wearing the black dress.\n\n\t\tCLEMENTINE\n\tNo, you were with me when I bought that.\n\tAt that place on East 6th. It was later.", "STAN\n\tThe office is filled with people who want\n\ttheir memories re-erased.\n\n\t\tMARY\n\t\t(hysterically)\n\tRemember the Alamo! Remember the Alamo!", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before." ], [ "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Joel looks down at her hand. It's fading. The bracelet is\ngone. Clementine is gone. His childhood house is gone.\n\nINT. JOEL'S BEDROOM - NIGHT", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "Joel finds himself hurrying back to the bonfire. This scene,\ntoo, is disintegrating. It dries up and Joel is just\nstanding there on a faded beach at night, the bonfire frozen\nin the distance like a photograph.", "He looks down and Clementine's tear-streaked face is fading.\nShe continues as if she's still being made love to, even\nthough Joel is completely beside himself. He jumps up naked\nand yells at the ceiling.", "She looks at him really hard for a long moment. Joel tries\nto hold her gaze, but can't. He looks down at his drink.\nClementine starts to cry again.", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "INT. CAR - MOMENTS LATER\n\nJoel drives. He passes Clementine walking. She looks cold.\nHe considers, slows, rolls down his window.", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "Carrie continues to talk, but her voice goes under as Joel\nstudies the faded husks of memories, piled like refuse\noutside the moving car window. He sees dried-out version of", "Joel and Clementine pull up to Clementine's house.\n\n\t\tJOEL\n\tI dropped you off after. You said --", "The mother backs out, closes the door. Joel cringes.\nClementine laughs, still in the mode of the memory she was\nswiped from. Flash! It's all gone.", "Joel puts on his overcoat. Clementine heads to the phone\ntable, pulls out a notepad.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "Clementine is out the door. Joel follows.\n\nEXT. STREET - NIGHT\n\nJoel looks at his dented car, looks at Clementine clomping\noff in the distance." ], [ "PATRICK\n\tIn the world.\n\nJoel seems dazed, in some sort of dream confusion, as he\nrealizes the world around him is looking increasingly odd.", "PATRICK\n\tDefinitely.\n\nINT. JOEL'S BEDROOM - NIGHT", "Patrick returns to the bedside, focuses on the machines for a\nmoment. He glances at the unconscious Joel.", "PATRICK'S VOICE\n\tSee, remember that girl? The one we did\n\tlast week? The one with the potatoes?\n\nJoel looks up, startled.", "PATRICK'S VOICE\n\tOkay, but there's more.\n\nJoel listens.", "She runs into the bedroom. Patrick is at the phone and\nrealizes he doesn't know Joel's number. After a moment's\nthought, he *69's. The phone rings.", "Joel finds himself hurrying back to the bonfire. This scene,\ntoo, is disintegrating. It dries up and Joel is just\nstanding there on a faded beach at night, the bonfire frozen\nin the distance like a photograph.", "PATRICK'S VOICE\n\tIt's kind of a dump, don't you think?\n\nJoel looks up, trying to locate the voice.", "Stan works the joystick. Patrick sits on the bed with Joel.\n\n\t\tPATRICK\n\tYeah?\n\n\t\tSTAN\n\tJust wanted to let you know.", "Joel, snapped into a new memory, cries as he fills two large\nplastic garbage bags with mementos of his relationship with", "Joel is mesmerized by their familiarity. As he stands there,\nthe scene starts to dry out.\nClementine and Patrick continue their flirtation but it's", "INT. JOEL'S APARTMENT - NIGHT\n\nPatrick is on the phone next to Joel's bed. Stan watches the\nlights on the computer screen.", "STAN'S VOICE\n\tPatrick, do me a favor --\n\nJoel is watching Stan. Stan is not speaking, yet his voice\ncontinues.", "Right before Joel gets there, Patrick, a skinny young man\napproaches Clementine. Joel stops, watches. The young man", "Carrie continues to talk, but her voice goes under as Joel\nstudies the faded husks of memories, piled like refuse\noutside the moving car window. He sees dried-out version of", "INT. JOEL'S APARTMENT - NIGHT\n\nPatrick is checking out the apartment. Stan monitors the\nequipment.", "blips running like streams through an image of Joel's brain.\nStan presses buttons and operates a joystick, aiming for the\nlines. Patrick (who we saw earlier with Clementine at the", "STAN\n\tJesus, Patrick!\n\nEXT. STREET - NIGHT\n\nOn the vague street Joel listens to Patrick and Stan.", "Mierzwiak writes it down on a bedside not pad. He hangs up.\n\nINT. JOEL'S APARTMENT - NIGHT\n\nStan hangs up the phone, looks at Mary.", "JOEL\n\tWhere? Where? Where?\n\nHe drags her through the landscape of already decayed\nmemories and turns off into:\n\nINT. KITCHEN - DAY" ], [ "INT. LACUNA RECEPTION AREA - DAY", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "Joel looks for an office number. He finds it. The plaque on\nthe door reads Lacuna Ltd. Joel enters.\n\nINT. WAITING ROOM - DAY", "Joel enters the Lacuna waiting room. Mary sits in the\nreception area.\n\n\t\tMARY\n\tMay I help you?", "It's modern and well-appointed. The old woman enters, sits\nbehind the reception desk, drops her manuscript into the\ndrawer. She takes some pills with water. An old man\nenters.", "INT. LACUNA LTD. WAITING ROOM - MORNING", "carrying a tattered manuscript, maybe a thousand pages. She\nseems haunted, hollow-eyed, sickly. The young receptionist,", "JOEL\n\tThis was our first time.\n\nThe scene starts to fade. Joel watches Clementine disappear.\n\nINT. LACUNA RECEPTION AREA - NIGHT", "The scene is faded and disappearing fast. It's gone.\n\nINT. JOEL'S OFFICE - DAY\n\nJoel gets off the elevator and approaches the receptionist.", "VOICE-OVER\n\tLacuna: Noun. A blank, a missing\n\tportion, especially in a manuscript.\n\nINT. JOEL'S APARTMENT - NIGHT", "RECEPTIONIST\n\tMay I help you?\n\n\t\tSTAN\n\tI work here. I used to work here. Stan.\n\tPlease just tell Howard I'm here to clean\n\tout my desk.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "seascape paintings on the walls. The receptionist, Mary, 25,\ncan be seen typing in the reception area. Behind her are\nshelves and shelves of medical files. The door opens and", "Stan enters the waiting room, now crowded with people holding\ntheir files, a stunned-looking lot. There is a new woman in\nthe reception window. The file cases behind her are bare.", "Lacuna Ltd.\n\t\t 610 11th Avenue, NY, NY\n\nJoel stares at the card, incredulous.", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "RECEPTIONIST\n\t\t(nodding sympathetically)\n\tMaybe after the holidays then.\n\nINT. TILED HALLWAY - DAY", "Mierzwiak turns up the volume on a small video monitor\nlooking in on the lab, where Patrick has clearly taken over\nStan's position. He is in the process of interviewing a sad\nyoung woman.", "RECEPTIONIST (CONT'D)\n\t\t(quietly into headset)\n\tIt's her -- I know, but couldn't you just" ], [ "She leans over and kisses him, then pulls away quickly.\n\n\t\tMARY\n\tI've loved you for a very long time. I'm\n\tsorry! I shouldn't have said that.", "MARY\n\tAnd you never even suspected? Never saw\n\tus behaving in any unusual way together?\n\n\t\tSTAN\n\tOnce, maybe.", "MARY\n\tThey have a right to know. Howard is a\n\tthief. He steals the truth.\n\t\t(suddenly weeping)", "lit window, watches Mierzwiak and Mary inside. Mierzwiak's\nresolve has apparently weakened and he and Mary kiss again.\nThis time it leads to groping, partial undressing, and", "She smiles and nods. It's clear she's in love. It's equally\nclear that Mierzwiak doesn't have a clue. Mary turns to\nleave.", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "MARY\n\t\t(heroically)\n\tMrs. Mierzwiak, it's true. And it's not", "Mary, in shock, sits in the empty fluorescent car. She tries\nto look out the window but can only see her own reflection.\n\nINT. JOEL'S BEDROOM - NIGHT", "STAN\n\tYou love him, don't you?\n\nMary seems surprised, taken aback, caught. She is silent for\na long moment.", "MARY (CONT'D)\n\tYou're nice.\n\t\t(beat)\n\tBut I love him. I knew I loved him. Now\n\tI know.", "MARY\n\tAnd after that?\n\n\t\tSTAN\n\tI never saw you together like that again.\n\tSo I figured I was imagining things.\n\nMary says nothing.", "MARY\n\t\t(beat)\n\tDo you swear you didn't know?\n\n\t\tSTAN\n\tI swear.", "MARY\n\t\t(suddenly weepy)\n\tI wish I was your wife. I wish I had\n\tyour kids.", "She follows his eyes and sees the woman in the window, who\nturns and walks off in a huff.\n\n\t\tMARY (CONT'D)\n\tOh my God!", "She drives off. Mary watches Howard with increased\nforeboding.\n\n\t\tMARY\n\tWhat, Howard?", "MARY\n\tNo you're right. Once again. You're a\n\tdecent man, Howard.\n\nHe smiles sadly at her. She smiles courageously at him.", "Mary shakes her head \"no.\" She walks off, dazed.\n\nEXT. CHARLES RIVER - NIGHT", "MARY\n\tNo.\n\t\t(beat)\n\tBesides, Howard's married, Stan. He's a", "STAN\n\tSorry. I just --\n\n\t\tMARY\n\t\t(somewhat guiltilly)\n\tIt's just...y'know... I mean...", "He leans in to kiss her. She cranes her neck to keep him\noff.\n\n\t\tMARY\n\t\t(reprimanding whisper)\n\tStan... c'mon..." ], [ "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "MARY\n\tThey have a right to know. Howard is a\n\tthief. He steals the truth.\n\t\t(suddenly weeping)", "STAN\n\tI don't know what you're talking about,\n\tHoward.\n\n\t\tMIERZWIAK\n\tMary has stolen our files and is sending\n\tthem back to people.", "Stan pulls the van into space marked \"Lacuna.\" He gets out,\ncrosses to his car. Mary is sitting on the hood.\n\n\t\tSTAN\n\tHey.", "Old Howard mutters something and disappears into the back.\nOld Mary pulls out a file from behind, removes a small disc,", "Joel enters the Lacuna waiting room. Mary sits in the\nreception area.\n\n\t\tMARY\n\tMay I help you?", "Mary enters the dark room, frazzled. She flips on the\nfluorescent lights and searches the file folders, finds one", "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "Mary is right behind Mierzwiak now. Hollis is in her car.", "Another old woman enters the office. Old Mary looks up,\nseems a bit startled, conceals it, turns off the tape.", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "Mary, with a headset on, looks up, startled. She switches\noff the tape. She has been crying. There's a pile of tapes\nnext to her. The distraught woman is standing there.", "places it in a machine on her desk, slips on earphones and\nlistens, somewhat wearily but attentively. We watch the\ncolor drain from her face, but don't hear the recording.", "Mary, in shock, sits in the empty fluorescent car. She tries\nto look out the window but can only see her own reflection.\n\nINT. JOEL'S BEDROOM - NIGHT", "Mierzwiak looks from Mary to Stan, nods, and enters. Mary\ncloses the door. Mierzwiak crosses to the equipment.", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "Mary opens the door, peeks in. Howard Mierzwiak, 40's,\nprofessional, dry, sits behind his desk studying some papers.", "Hollis and Mierzwiak have locked eyes. Mary looks back and\nforth between them. Hollis starts her car.\n\n\t\tHOLLIS\n\tPoor kid. You can have him. You did.", "Lacuna Ltd.\n\t\t 610 11th Avenue, NY, NY\n\nJoel stares at the card, incredulous." ], [ "Another old woman enters the office. Old Mary looks up,\nseems a bit startled, conceals it, turns off the tape.", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "Old Howard mutters something and disappears into the back.\nOld Mary pulls out a file from behind, removes a small disc,", "Mary is right behind Mierzwiak now. Hollis is in her car.", "Mary, with a headset on, looks up, startled. She switches\noff the tape. She has been crying. There's a pile of tapes\nnext to her. The distraught woman is standing there.", "Mary enters the dark room, frazzled. She flips on the\nfluorescent lights and searches the file folders, finds one", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "We see people going to their mailboxes, finding manila\nenvelopes. One by one they open the envelopes and pull out\ntapes. We see stunned, confused, disbelieving reactions as\npeople listen to their tapes.", "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "OLD WOMAN (MARY)\n\tDr. Mierzwiak, this is Clementine\n\tKruczynski. She'd like to talk to you.\n\nOld Howard and the old Mary eye each other.", "pulls another file out. This one has Joel's name on it. She\ncopies it onto an envelope.", "MARY\n\tThey have a right to know. Howard is a\n\tthief. He steals the truth.\n\t\t(suddenly weeping)", "living room area. Sitting there are piles of the files from\nwork. She pulls the top one out, copies the name and address\nonto an envelope stuffs the file and tape cassette in. She", "MARY\n\t\t(heroically)\n\tMrs. Mierzwiak, it's true. And it's not", "MARY\n\t\t(at Mierzwiak's office)\n\tHere we are.\n\nMierzwiak steps out from behind his desk.", "Stan nods again and Mary opens the door to the waiting room.\n\n\t\tMARY (CONT'D)\n\tMs. Kruczynski?", "Mary opens the door, peeks in. Howard Mierzwiak, 40's,\nprofessional, dry, sits behind his desk studying some papers.", "Stan doesn't know what to say. He stands there dumbly. Mary\nslumps into a ball on a chair.\n\n\t\tSTAN\n\tMary, people come to him voluntarily.", "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "She drives off. Mary watches Howard with increased\nforeboding.\n\n\t\tMARY\n\tWhat, Howard?" ], [ "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "Joel studies the unfamiliar CD's. He picks up Bang On a Can\nperforming Brian Eno's Music for Airports to look at.\nClementine reenters with her drink.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "JOEL\n\tThis was our first time.\n\nThe scene starts to fade. Joel watches Clementine disappear.\n\nINT. LACUNA RECEPTION AREA - NIGHT", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "INT. CLEMENTINE'S APARTMENT - NIGHT\n\nCandles are lit. Joel and Clementine are under a blanket on\nthe living room rug listening to music.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "Joel puts on his overcoat. Clementine heads to the phone\ntable, pulls out a notepad.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "Joel looks for an office number. He finds it. The plaque on\nthe door reads Lacuna Ltd. Joel enters.\n\nINT. WAITING ROOM - DAY", "Joel doesn't know what to say as this registers. He just\nstands there dumbly.\n\n\t\tCLEMENTINE'S VOICE (CONT'D)\n\tCome over here, sweetheart. Please.", "VOICE-OVER\n\tLacuna: Noun. A blank, a missing\n\tportion, especially in a manuscript.\n\nINT. JOEL'S APARTMENT - NIGHT", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine.", "INT. RESTAURANT - NIGHT\n\nJoel and Clementine are laughing as she blows out the candle\non a slice of cheesecake in front of her. Joel hands her a\nsmall wrapped box.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT", "INT. BAR - NIGHT\n\nIt's noisy and crowded. Joel and Clementine sit at a small\ntable. She is drunk and staring off, blankly." ], [ "JOEL (CONT'D)\n\tBye.", "Joel is his father. The father is drunk and sullen. He\nfaces away from Joel, looks out at the lake.", "Joel looks slightly crestfallen.", "Joel turns to leave.\n\nINT. JOEL'S CAR - NIGHT\n\nJoel drives fast, recklessly. The intensity is back. He's\nweeping as he drives.", "Joel looks up. Stan's voice seems to be coming from above.\n\nINT. JOEL'S APARTMENT - NIGHT", "Joel stands in the living room, somewhat nervously. He tries\nto calm himself by focusing on the surroundings. He looks at", "JOEL\n\tYeah.", "INT. JOEL'S APARTMENT - CONTINUOUS\n\nJoel hangs up. He dials the phone.\n\n\t\tJOEL\n\tIt's true.", "JOEL\n\tIt's not somebody else.\n\n\t\tVOICE-OVER\n\tI hate myself.\n\nNaomi walks off. Joel watches her. The scene fades.", "JOEL (CONT'D)\n\tFuck.\n\nINT. BOOKSTORE - NIGHT", "The colors bleach, the surroundings become slightly vague.\nEven Joel's persona and voice-over seem to alter, his\nemotional intensity becoming diffused. Joel does not seem", "Joel sits in the bookstore coffee shop. It's a jarring\ntransition, visually and emotionally. Joel is in the midst\nof some traumatic state of mind.", "Joel enters, dumps his overcoat on a chair, turns off the\nlights, crosses to look furtively out the window. It's\nsnowing in large flakes which seem to fall only in the beam\nof a streetlight.", "Joel rises and heads toward Clementine.", "JOEL\n\tThe driver waved. So casual, friendly.\n\n\t\tVOICE-OVER\n\tI'm like a joke to them.", "JOEL\n\tWhere? Where? Where?\n\nHe drags her through the landscape of already decayed\nmemories and turns off into:\n\nINT. KITCHEN - DAY", "JOEL (CONT'D)\n\tAnd what are you like? A wino?", "JOEL\n\tOh, yeah.", "Joel speeds through the suburban Rockville Center\nneighborhood. There is no snow on the ground. He seems\ndifferent, somehow foggy and disoriented.", "Joel grabs her. They run off just as the scene decays into a\nhusk behind them.\n\nINT. JOEL'S BEDROOM - NIGHT" ], [ "Clementine enters. She's in her early thirties, zaftig in a\nfaux fur winter coat over an orange hooded sweatshirt. She's", "the books on her shelves. Clementine is in the kitchen. We\nsee her as she passes by the doorway several times, preparing\ndrinks and chatting.", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before.", "CLEMENTINE\n\tAh, the hair.\n\t\t(pulls a strand in front of her\n\t\t eyes, studies it)", "Clementine looks over at him, smiles. Her brow furrows in\nthought.\n\n\t\tCLEMENTINE\n\tWhat if you hide me?\n\n\t\tJOEL\n\tWhat do you mean?", "CLEMENTINE\n\t\t(impressed)\n\tYeah. Although it hardly fits. I'm a\n\tvindictive little bitch, truth be told.", "Clementine watches out the window as Patrick nears. She's\ncrying. He makes his way up her front stairs. She swings\nopen the door and hugs him.", "CLEMENTINE (CONT'D)\n\tIt's helpful to think there's some order\n\tto things. You're kind of closed\n\tmouthed, aren't you?", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "CLEMENTINE\n\t\t(laughing)\n\tA bully? Moi?", "CLEMENTINE\n\tWell, sounds like me. Sorry, man.\n\t\t(reading)\n\tSays you were jealous and suspicious.", "Clementine holds his hand. He looks over at her.", "INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "CLEMENTINE\n\tExactly. Exactly! That's exactly my\n\tfeeling about it. It's hard to know.", "Clementine is not looking at him; she busies herself deciding\nwhere to sit. She settles on a seat at the opposite end of\nthe car. Joel looks out the window. He feels her watching", "CLEMENTINE (CONT'D)\n\tI don't need nice. I don't need myself\n\tto be it and I don't need anyone else to\n\tbe it at me.", "CLEMENTINE\n\tYou're still excited by my irreverence.\n\tYou haven't yet started to think of it as\n\tmy \"gratuitous need to shock.\"", "CLEMENTINE\n\tYou're very nice. God, I have to stop\n\tsaying that. You're nervous around me,\n\thuh?\n\n\t\tJOEL\n\tNo.", "sweatshirt. It's Clementine. He watches her for a bit, then\nas she nears, he goes back to his writing, or at least" ], [ "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "Joel sits on the bench waiting for a train. Clementine\nenters the platform, sees Joel, the only other person there.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "VOICE-OVER\n\tI met someone tonight at a party on the\n\tbeach. Her name is Clementine. There is\n\tsomething alive about her.\n\nNaomi turns over in bed, sees Joel.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "INT. BAR - NIGHT\n\nIt's noisy and crowded. Joel and Clementine sit at a small\ntable. She is drunk and staring off, blankly.", "Joel and Clementine are hiking, Clementine in front.\n\n\t\tCLEMENTINE\n\tSuch a beautiful view.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "Joel, now the size of a junior high school kid and dressed\naccordingly, is peering around the corner of the school\nbuilding toward the bike rack. Clementine is with him,\ndressed as she was in the parked car.", "JOEL (CONT'D)\n\t\t(shyly formal)\n\tSo, I enjoyed meeting you.\n\n\t\tCLEMENTINE\n\tYou'll call me, right?", "Joel finds himself eating Chinese food and sitting across\nfrom Clementine. He is ragged and jarred.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "Joel climbs stairs, searches the aisle, spots Clementine.\n\n\t\tJOEL\n\tHi.\n\nShe turns.", "INT. CAR - MOMENTS LATER\n\nJoel drives. He passes Clementine walking. She looks cold.\nHe considers, slows, rolls down his window.", "Joel sits at the far end of the empty car and watches the\nslowly passing desolate terrain. After a moment the door\nbetween cars opens and Clementine enters. Joel looks up.", "Joel and Clementine eat dinner in silence. Joel looks around\nat other couples in the restaurant. Some seem happy and\nengaged. Others seem bored with each other. He turns back\nto his food.", "Clementine looks around the place. Her eyes meet Joel's\nbefore he is able to look away. She smiles vaguely. He", "Joel rises and heads toward Clementine.", "Joel and Clementine sit and eat dinner in front of the TV.\nIt's hard to make out what they're watching.\nThey sit on opposite ends of the couch. They look bored.\nThe scene quickly degenerates. The room fades." ], [ "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "VOICE-OVER\n\tLacuna: Noun. A blank, a missing\n\tportion, especially in a manuscript.\n\nINT. JOEL'S APARTMENT - NIGHT", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "STAN\n\tWe use the articles you brought to create\n\ta map of Clementine in your brain.\n\tTonight while you sleep we'll be able to\n\ttrace the map and erase.", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "Clementine looks over at him, smiles. Her brow furrows in\nthought.\n\n\t\tCLEMENTINE\n\tWhat if you hide me?\n\n\t\tJOEL\n\tWhat do you mean?", "CLEMENTINE\n\tCome back and make up a good-bye at\n\tleast. Let's pretend we had one.\n\nClementine comes downstairs, vague and robotic, making her\nway through the decaying environment.", "Mierzwiak directs Clementine to a chair next to a coffee\ntable and a conspicuously placed box of tissues. Mierzwiak\nsits across from her. He smiles.", "CLEMENTINE (CONT'D)\n\tEvery curve, every freckle.\n\nShe takes off her shirt. He stares at her. He has clearly\nnever seen this body before.", "the books on her shelves. Clementine is in the kitchen. We\nsee her as she passes by the doorway several times, preparing\ndrinks and chatting.", "JOEL\n\tThis was our first time.\n\nThe scene starts to fade. Joel watches Clementine disappear.\n\nINT. LACUNA RECEPTION AREA - NIGHT", "Lacuna Ltd.\n\t\t 610 11th Avenue, NY, NY\n\nJoel stares at the card, incredulous.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "CLEMENTINE\n\tAnd, anyway, you sell yourself short. I\n\tcan tell. There's a lot of stuff going\n\ton in your brain. I can tell. My\n\tgoal... can I tell you my goal?", "VOICE-OVER\n\tThe trip to the party where I met\n\tClementine. My first memory of her is\n\tnow my last memory of her.", "He indicates a tape recorder.\n\n\t\tCLEMENTINE\n\tI don't care.\n\nHe turns it on, smiles at her, gestures for her to begin." ], [ "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "The mother backs out, closes the door. Joel cringes.\nClementine laughs, still in the mode of the memory she was\nswiped from. Flash! It's all gone.", "The elements of the scene flash explosively away: Joel's\nmother, his Huckleberry Hound doll, the details of the\nkitchen, Clementine. Joel is thrown into:\n\nINT. CAR - NIGHT", "JOEL\n\tThey can't erase memories. It's a joke.\n\tIt's a nasty Clementine hoax.\n\n\t\tCARRIE\n\tSweetie, we called the company.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "INT. CAR - MOMENTS LATER\n\nJoel drives. He passes Clementine walking. She looks cold.\nHe considers, slows, rolls down his window.", "He looks down and Clementine's tear-streaked face is fading.\nShe continues as if she's still being made love to, even\nthough Joel is completely beside himself. He jumps up naked\nand yells at the ceiling.", "Joel looks down at her hand. It's fading. The bracelet is\ngone. Clementine is gone. His childhood house is gone.\n\nINT. JOEL'S BEDROOM - NIGHT", "She looks at him really hard for a long moment. Joel tries\nto hold her gaze, but can't. He looks down at his drink.\nClementine starts to cry again.", "This shuts Clementine up. She is stung and she starts\ngathering up her belongings, which are strewn about the\napartment. Joel is immediately sorry he said this. He\nfollows her around.", "CLEMENTINE\n\tYes, but I can't love a man named Wally.\n\nShe starts to fade. The scene starts to fade. Joel\nremembers their previous plan.", "Joel doesn't know what to say as this registers. He just\nstands there dumbly.\n\n\t\tCLEMENTINE'S VOICE (CONT'D)\n\tCome over here, sweetheart. Please.", "JOEL\n\tI just think that you have some kind\n\tof... quality that seems really important\n\tto me.\n\nThe scene is disintegrating. Clementine's speech is\ndelivered without passion." ], [ "PATRICK\n\t\t(whisper)\n\tStan, it's Patrick. Pick up.\n\n\t\tSTAN'S VOICE\n\tHey, where are you?", "PATRICK\n\t\t(quietly)\n\tMary hates me.\n\t\t(into phone)\n\tI'll be right over, Tangerine.", "STAN\n\t\t(sighing, to Patrick)\n\tGo.", "Clementine watches out the window as Patrick nears. She's\ncrying. He makes his way up her front stairs. She swings\nopen the door and hugs him.", "PATRICK'S VOICE (CONT'D)\n\tAfter we did her, I went to where she\n\tworked and I asked her out.", "PATRICK (CONT'D)\n\tSo who do you think is better-looking, me\n\tor this guy?\n\nStan glances sideways at Patrick.", "PATRICK'S VOICE\n\tIt's kind of a dump, don't you think?\n\nJoel looks up, trying to locate the voice.", "PATRICK (CONT'D)\n\tWell do it again soon.\n\nEXT. PARKING STRUCTURE - EARLY MORNING", "STAN\n\tPatrick, let's just get through this. We\n\thave a long night ahead of us.\n\n\t\tPATRICK\n\tYeah.", "Patrick returns to the bedside, focuses on the machines for a\nmoment. He glances at the unconscious Joel.", "STAN\n\tJesus, Patrick!\n\nEXT. STREET - NIGHT\n\nOn the vague street Joel listens to Patrick and Stan.", "Patrick hangs up, rifles quickly through his backpack. He\npulls out a silver bracelet, puts it in his pocket, then", "Right before Joel gets there, Patrick, a skinny young man\napproaches Clementine. Joel stops, watches. The young man", "Stan looks over at Patrick. Mary returns with a bottle of\nscotch and two glasses.\n\n\t\tMARY\n\tHey, hey.\n\nShe pours the whiskey.", "PATRICK\n\tThanks, Stan. I owe you.", "INT. CLEMENTINE'S APARTMENT - NIGHT\n\nPatrick reads the journal.", "INT. PATRICK'S CAR - EARLY MORNING\n\nPatrick and Mary are heading home from Boston. Mary is\nsilent and depressed. Patrick tries to break the silence.", "INT. JOEL'S APARTMENT - NIGHT\n\nPatrick is checking out the apartment. Stan monitors the\nequipment.", "PATRICK\n\tIn the world.\n\nJoel seems dazed, in some sort of dream confusion, as he\nrealizes the world around him is looking increasingly odd.", "PATRICK'S VOICE\n\tOkay, but there's more.\n\nJoel listens." ], [ "PATRICK\n\tDefinitely.\n\nINT. JOEL'S BEDROOM - NIGHT", "Patrick returns to the bedside, focuses on the machines for a\nmoment. He glances at the unconscious Joel.", "INT. JOEL'S APARTMENT - NIGHT\n\nPatrick is on the phone next to Joel's bed. Stan watches the\nlights on the computer screen.", "INT. JOEL'S APARTMENT - NIGHT\n\nPatrick is checking out the apartment. Stan monitors the\nequipment.", "She runs into the bedroom. Patrick is at the phone and\nrealizes he doesn't know Joel's number. After a moment's\nthought, he *69's. The phone rings.", "PATRICK'S VOICE\n\tOkay, but there's more.\n\nJoel listens.", "PATRICK\n\tIn the world.\n\nJoel seems dazed, in some sort of dream confusion, as he\nrealizes the world around him is looking increasingly odd.", "Stan works the joystick. Patrick sits on the bed with Joel.\n\n\t\tPATRICK\n\tYeah?\n\n\t\tSTAN\n\tJust wanted to let you know.", "Right before Joel gets there, Patrick, a skinny young man\napproaches Clementine. Joel stops, watches. The young man", "STAN'S VOICE\n\tPatrick, do me a favor --\n\nJoel is watching Stan. Stan is not speaking, yet his voice\ncontinues.", "Joel checks his machine: zero messages.\n\n\t\tVOICE-OVER\n\tThat's it. I'm just gonna--\n\nWithout a moment's hesitation, he dials the phone.", "Joel enters with his mail. He opens a manila envelope, reads\nthe enclosed file, sticks the cassette tape in his stereo,\nlistens. Joel dials the phone.", "Mierzwiak writes it down on a bedside not pad. He hangs up.\n\nINT. JOEL'S APARTMENT - NIGHT\n\nStan hangs up the phone, looks at Mary.", "blips running like streams through an image of Joel's brain.\nStan presses buttons and operates a joystick, aiming for the\nlines. Patrick (who we saw earlier with Clementine at the", "PATRICK'S VOICE\n\tIt's kind of a dump, don't you think?\n\nJoel looks up, trying to locate the voice.", "Joel is mesmerized by their familiarity. As he stands there,\nthe scene starts to dry out.\nClementine and Patrick continue their flirtation but it's", "STAN\n\tJesus, Patrick!\n\nEXT. STREET - NIGHT\n\nOn the vague street Joel listens to Patrick and Stan.", "Joel is sitting in a chair. Electrodes connect him to some\nelectronic machinery monitored by Stan. Mierzwiak watches\nfrom the corner.", "Stan watches the screen. Patrick paces, fidgets, looks at\nthe unconscious Joel.\n\n\t\tPATRICK\n\tI gotta tell you something. I kind of\n\tfell in love with her last night.", "JOEL (CONT'D)\n\tBye." ], [ "faded, vague and mostly erased. He keeps walking, comes to\nthe door marked Lacuna and opens it. Inside he can see\nvague, erased version of Mary the receptionist.", "STAN\n\tThe office is filled with people who want\n\ttheir memories re-erased.\n\n\t\tMARY\n\t\t(hysterically)\n\tRemember the Alamo! Remember the Alamo!", "The old Clementine is unconscious on her bed, hooked up to\nmodern versions of the erasing machines. Two young\ntechnicians monitor the equipment. The woman's bedside phone\nrings. Her machine picks up. After a moment:", "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "Mary, with a headset on, looks up, startled. She switches\noff the tape. She has been crying. There's a pile of tapes\nnext to her. The distraught woman is standing there.", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "Clementine Kruczynski has had Joel Barish erased from her\n memory. Please never mention their relationship to her\n\t\t again. Thank you.", "Another old woman enters the office. Old Mary looks up,\nseems a bit startled, conceals it, turns off the tape.", "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "carrying a tattered manuscript, maybe a thousand pages. She\nseems haunted, hollow-eyed, sickly. The young receptionist,", "screen lights up so only he can see it. On it we see a whole\nfile on Clementine Kruczynski: a list of fifteen dates of\nprevious erasures stretching back fifty years, all of them", "MIERZWIAK\n\tIt was a mutual decision.\n\n\t\tMARY\n\tYou made me have you erased! I loved\n\tyou. I love you! How could you --", "seascape paintings on the walls. The receptionist, Mary, 25,\ncan be seen typing in the reception area. Behind her are\nshelves and shelves of medical files. The door opens and", "Mary, in shock, sits in the empty fluorescent car. She tries\nto look out the window but can only see her own reflection.\n\nINT. JOEL'S BEDROOM - NIGHT", "MARY\n\tMay I help you?\n\n\t\tDISTRAUGHT WOMAN\n\tI'm here for Dr. Mierzwiak. My name is\n\tHelene Kernfeld.", "MARY\n\tAnd you never even suspected? Never saw\n\tus behaving in any unusual way together?\n\n\t\tSTAN\n\tOnce, maybe.", "MARY\n\tAnd after that?\n\n\t\tSTAN\n\tI never saw you together like that again.\n\tSo I figured I was imagining things.\n\nMary says nothing.", "eyes are red from crying. Mary, the receptionist, pokes her\nhead through her window into the waiting room." ], [ "Mary doesn't say anything. Stan huffs and is out the door.\nMierzwiak continues to find and erase points of light. Mary\ngets up her courage to speak.", "Mary gets out of bed. She has been crying all night. She's\na wreck. She puts on some coffee then crosses into the", "Mary, with a headset on, looks up, startled. She switches\noff the tape. She has been crying. There's a pile of tapes\nnext to her. The distraught woman is standing there.", "She drives off. Mary watches Howard with increased\nforeboding.\n\n\t\tMARY\n\tWhat, Howard?", "There's an embarrassed moment as that line hangs in the air.\nThen Mary plunges ahead to bury it.", "Another old woman enters the office. Old Mary looks up,\nseems a bit startled, conceals it, turns off the tape.", "She follows his eyes and sees the woman in the window, who\nturns and walks off in a huff.\n\n\t\tMARY (CONT'D)\n\tOh my God!", "Mary having an abortion.\n\nINT. COMMUTER TUBE - DAY\n\nThe old woman and her chair lift out of the line of\ncommuters.", "Mary shakes her head \"no.\" She walks off, dazed.\n\nEXT. CHARLES RIVER - NIGHT", "INT. LACUNA RECEPTION AREA - DAY\n\nMary does paperwork at her desk. She looks through her\nreception window at the sad people waiting in the lobby with\ntheir bags of stuff.", "still stoned. Mary is pacing nervously to and from the\nwindow, looking out into the night. She's dressed also, and", "Mary, in shock, sits in the empty fluorescent car. She tries\nto look out the window but can only see her own reflection.\n\nINT. JOEL'S BEDROOM - NIGHT", "She smiles and nods. It's clear she's in love. It's equally\nclear that Mierzwiak doesn't have a clue. Mary turns to\nleave.", "Mary is right behind Mierzwiak now. Hollis is in her car.", "MARY\n\t\t(heroically)\n\tMrs. Mierzwiak, it's true. And it's not", "PATRICK\n\t\t(quietly)\n\tMary hates me.\n\t\t(into phone)\n\tI'll be right over, Tangerine.", "Mary slams the bathroom door. Stan puts his head in his\nhands.\n\nINT. KITCHEN - DAY", "She leans over and kisses him, then pulls away quickly.\n\n\t\tMARY\n\tI've loved you for a very long time. I'm\n\tsorry! I shouldn't have said that.", "lit window, watches Mierzwiak and Mary inside. Mierzwiak's\nresolve has apparently weakened and he and Mary kiss again.\nThis time it leads to groping, partial undressing, and", "She pulls a airline-sized bottle of alcohol from her pocket,\nopens it, and downs it. Joel is watching all of this but\npretending not to. She looks out the window for a while." ], [ "It's dark. Joel and Clementine are in bed. The memory is\nalready in the midst of being erased. Clementine is talking\nin a monotonous, robotic manner.", "Clementine looks over at him. Her eyes are filled with love\nand tears. Then they get vague. The scene is being erased.\nJoel is panicked.", "INT. CLEMENTINE'S APARTMENT - LATER\n\nJoel and Clementine review their separate Lacuna packages\ntogether.", "JOEL\n\tOkay.\n\n\t\tCLEMENTINE\n\tYeah? Oh, great!\n\nShe sits closer to him.", "Joel distractedly reads a book, checks the clock, goes back\nto the book. The door opens. He looks up. Clementine is\nstaggering in, drunk.", "JOEL\n\t\t(looking at her)\n\tYes indeed.\n\t\t(snapping out of memory)\n\tFuck! They're erasing you, Clem!\n\n\t\tCLEMENTINE\n\tOh?", "CLEMENTINE\n\tYes, exactly. Exactly my point.\n\nINT. CLEMENTINE'S APARTMENT - NIGHT\n\nJoel and Clementine are in the midst of awkward shy sex.", "The scene is faded completely now and Joel just lies there\nfor a moment, registering Clementine's statement.\n\nINT. CHINESE RESTAURANT - NIGHT", "Joel doesn't say anything. He peeks humiliated at\nClementine. She's watching him. She's got a tear in her\neye. She kneels down beside him, puts her arm around him.", "He laughs. She unbuttons his pajamas. They begin to make\nlove. Joel's mother hurries around the kitchen. Joel stops,\nlooks at Clementine.", "EXT. CHARLES RIVER - NIGHT\n\nJoel and Clementine lie together holding hands on the frozen\nriver. They look up at the stars.", "It's dark. Joel, junior high school size, is in bed\nmasturbating. Clementine is in there, too, in her winter\ncoat, still laughing from before. She realizes what's going\non.", "INT. RESTAURANT - NIGHT\n\nJoel and Clementine are laughing as she blows out the candle\non a slice of cheesecake in front of her. Joel hands her a\nsmall wrapped box.", "INT. JOEL'S CAR - CONTINUOUS\n\nJoel drives to catch up with Clementine. He rolls down his\nwindow to talk to her.", "Joel and Clementine sit and eat dinner in front of the TV.\nIt's hard to make out what they're watching.\nThey sit on opposite ends of the couch. They look bored.\nThe scene quickly degenerates. The room fades.", "Joel ponders this. The scene and Clementine are beginning to\ndissolve. Joel grabs Clementine's hand. She giggles with\nglee. He pulls her out of the scene as it degrades.", "INT. BAR - NIGHT\n\nIt's noisy and crowded. Joel and Clementine sit at a small\ntable. She is drunk and staring off, blankly.", "Joel and Clementine pull up to Clementine's house.\n\n\t\tJOEL\n\tI dropped you off after. You said --", "beach, laughing and holding hands at a movie, eating grilled\ncheese and tomato soup together in bed, Joel watching her\nsleep, them drinking at a bar. He arrives at a decayed", "Joel and Clementine eat dinner in silence. Joel looks around\nat other couples in the restaurant. Some seem happy and\nengaged. Others seem bored with each other. He turns back\nto his food." ] ]

[ "Where did Joel and Clementine meet? ", "Who mails Joel and Clementine the files of their memory erasures? ", "What was erased from Mary's mind? ", "What happens after Joel and Clementine meet a second time? ", "What company erases memories? ", "Who is the technician who Mary is currently dating? ", "Who uses Joel's mannerisms to seduce Clementine? ", "Who tries to hide Clementine in his mind? ", "Who is the free-spirited half of the main couple? ", "What train was Joel and Clementine on when they met?", "What was the name of the New York City firm Clementine hired?", "Why did Clementine hire the New York City firm Lacuna?", "What was Joel's last remaining memory of Clementine?", "What does Patrick us Joel's memories for?", "Who is the receptionist at Lacuna?", "Who did Mary discover she had an affair with?", "What does Mary steal from the Lacuna firm?", "What former clients does Mary send their records to?", "How do Joel and Clementine react when opening their records from Lacuna?", "What kind of personality does Joel have?", "What kind of personality does Clementine have?", "How do Joel and Clementine meet?", "What did Clementine hire Lacuna to do?", "What does Joel do when he discovers Clementine had her memories zapped?", "Who is Patrick?", "How does Patrick use Joel's procedure to his advantage?", "Which memory did Mary the receptionist have erased?", "What does Mary do after she quits her job?", "When Joel and Clementine meet again after learning their memories were erased, what do they do?" ]

[ [ "Montauk", "Long island rail road train" ], [ "Mary", "Mary." ], [ "Memories of her affair with Dr. Mierzwiak. ", "Memories of an affair." ], [ "They decide to start a new relationship. ", "they decide to start a relationship" ], [ "Lacuna, Inc. ", "Lacuna, Inc." ], [ "Stan", "Stan" ], [ "Patrick. ", "Patrick." ], [ "Joel. ", "Joel" ], [ "Clementine", "Clementine." ], [ "The Long Island Rail Road train.", "Long Island Rail Road" ], [ "Lacuna", "Lacuna Inc" ], [ "To erase all her memories of her and Joel's past relationship.", "to erase all memories of her relationship with Joel" ], [ "The day he met her at a beach house.", "at the beach house in Montauk the day they first met" ], [ "To seduce Clementine.", "to seduce Clementine by imitating the things about Joel that she'd been attracted to" ], [ "Mary.", "Mary" ], [ "Dr. Howard Mierzwiak.", "Dr. Howard" ], [ "The companies records.", "The company's records" ], [ "Joel and Clementine.", "Joel and clementine" ], [ "With shock and bewilderment.", "they are bewildered and shocked" ], [ "He's shy and soft spoken.", "shy and soft-spoken" ], [ "She's a free spirit.", "Free spirited" ], [ "They meet on a New York train.", "on a train" ], [ "Erase her memories", "Erase her relationship with Joel from her memory." ], [ "He also has his memories erased.", "he goes to Lacuna to have his memories of her removed" ], [ "A lacuna employee who erases memories.", "Lacuna's tech" ], [ "He seduces Clementine", "seduction tool" ], [ "Her affair with her boss, Doctor Mierzwiak", "her affair with Dr. Howard Mierzwiek" ], [ "She mails Joel and Clementine's records to them.", "Sends Joel and Clementine their records." ], [ "Begin a new relationship with one another.", "They start over." ] ]

[ [ "These exclamations continued till they were interrupted by the lady,\nwho now proceeded to execute the commission given her by her brother,\nand gave orders for providing all necessaries for the child,", "However, what she withheld from the infant, she bestowed with the\nutmost profuseness on the poor unknown mother, whom she called an", "to be done?\" Mr Allworthy answered, she must take care of the child\nthat evening, and in the morning he would give orders to provide it a", "that she might not return too soon, was dispatched. Then the child was\nborn, in the presence only of myself and my mother, and was by my", "To this place therefore, wherever it was, we will wish her a good\njourney, and for the present take leave of her, and of the little\nfoundling her child, having matters of much higher importance to\ncommunicate to the reader.", "Matters being thus settled, Mr Allworthy withdrew to his study, as was\nhis custom, and left the child to his sister, who, at his desire, had\nundertaken the care of it.", "\"As to your child, let no thoughts concerning it molest you; I will\nprovide for it in a better manner than you can ever hope. And now", "When Mrs Deborah returned into the room, and was acquainted by her\nmaster with the finding the little infant, her consternation was", "The room was soon full of servants, some of whom, with the lady\nvisitant, were employed in care of the wife; and others, with Mr", "there was not, I believe, a person present who did not accompany her\nin them; at length she a little recovered herself, and proceeded thus:\n\"In all this distress the mother supports her spirits in a surprizing", "Mrs Deborah, having disposed of the child according to the will of her\nmaster, now prepared to visit those habitations which were supposed to\nconceal its mother.", "regard to the offspring she had by him. And, in fact, she had so\nlittle of this regard, that in his infancy she seldom saw her son, or", "A consultation was now entered into how to proceed in order to\ndiscover the mother. A scrutiny was first made into the characters of\nthe female servants of the house, who were all acquitted by Mrs", "He told his sister, if she pleased, the new-born infant should be bred\nup together with little Tommy; to which she consented, though with", "Jones, in compliance with this request, did all he could to comfort\nthe little girl, though he was, in reality, himself very highly", "into his room, and see whether he be in his own bed or no.\" She\naccordingly did this by Sophia's desire, and returned with an answer\nin the negative.", "birth; and declaring it was a sweet little infant, walked off with it\nto her own chamber.", "turning his own child out of doors. The women especially were\nunanimous in taking the part of Jones, and raised more stories on the\noccasion than I have room, in this chapter, to set down.", "Miss Nancy and her supposed husband both turned pale, and looked\nrather foolish than otherwise upon the occasion; but Mrs Miller took\nthe first opportunity of withdrawing; and, having sent for Jones into", "After about an hour's visit from the lady (for Nightingale had been\nwith him much longer), they both took their leave, promising to return" ], [ "Eight months after the celebration of the nuptials between Captain\nBlifil and Miss Bridget Allworthy, a young lady of great beauty,", "Bridget, in a violent fit of illness, and had sat up many nights with\nthat lady; besides which, she had been seen there the very day before", "Miss Bridget is an example of all these observations. She had not been\nmany times in the captain's company before she was seized with this", "The captain no sooner perceived the passion of Miss Bridget, in which\ndiscovery he was very quick-sighted, than he faithfully returned it.", "The satisfaction which the captain received from the kind behaviour of\nMiss Bridget, was not a little abated by his apprehensions of Mr", "Miss Bridget blessed herself, and said, \"For her part, she should\nnever hereafter entertain a good opinion of any woman.\" For Jenny\nbefore this had the happiness of being much in her good graces also.", "married by actual brutal force.\" \"To be sure, sir,\" said she, \"that's\ntrue. There may be some hopes for you; but alack-a-day! what hopes are", "Bridget, conveyed it into the bed where you found it. And all\nsuspicions were afterwards laid asleep by the artful conduct of your", "with us at any tavern in Bridges-street.\" He then proceeded to\ndescribe her person exactly (for he had seen her with her aunt), and", "As for the bride, she was now in her honeymoon, and so passionately\nfond of her new husband that he never appeared to her to be in the", "Miss Bridget had always exprest so great a regard for what the ladies\nare pleased to call virtue, and had herself maintained such a severity", "Chapter ii.\n\nA short description of squire Allworthy, and a fuller account of Miss\nBridget Allworthy, his sister.", "where she said there were a very happy set of people assembled--being\nindeed no other than Mr Nightingale and his bride, and his cousin\nHarriet with her bridegroom.", "When Mr Allworthy had retired to his study with Jenny Jones, as hath\nbeen seen, Mrs Bridget, with the good housekeeper, had betaken", "intended bride herself would confirm it with her lips. As to the\nwedding, it had the evening before been fixed, by the male parties, to\nbe celebrated on the next morning save one.", "The usual compliments having past between Mr Allworthy and Miss\nBridget, and the tea being poured out, he summoned Mrs Wilkins, and", "Among his other treasures, the pedagogue had a wife, whom he had\nmarried out of Mr Allworthy's kitchen for her fortune, viz., twenty\npounds, which she had there amassed.", "When her master was departed, Mrs Deborah stood silent, expecting her\ncue from Miss Bridget; for as to what had past before her master, the", "So that he was about to make her mittimus to Bridewell when I\ndeparted.\"", "This behaviour of Mrs Bridget greatly surprised Mrs Deborah; for this\nwell-bred woman seldom opened her lips, either to her master or his" ], [ "cruelly.\"----He then explained to him all the treachery of Blifil, and\nagain repeated expressions of the utmost concern, for having been", "When Allworthy and Blifil were again left together, a long silence\nensued between them; all which interval the young gentleman filled up\nwith sighs, which proceeded partly from disappointment, but more from", "with friendship, who can feel what she felt on this occasion. Few, I\nhope, are capable of feeling what now passed in the mind of Blifil;\nbut those who are will acknowledge that it was impossible for him to", "Thwackum expressed some surprize at these sudden emotions, and asked\nthe reason of them. To which Blifil answered, \"He was certain he had", "As the love which Blifil had for Sophia was of that violent kind,\nwhich nothing but the loss of her fortune, or some such accident,", "Master Blifil answered, \"Indeed, uncle, I am very sorry for what I\nhave done; I have been unhappily the occasion of it all. I had Miss", "It is probable, that by disclosing this secret, which had been\ncommunicated in the utmost confidence to him, young Blifil preserved", "\"I desire no more,\" cries Blifil; \"I am convinced my dear uncle hath a\nbetter opinion of me than to think that I myself would accept of\nmore.\"", "\"I am very sorry, madam,\" cried Blifil, \"that Mr Western's\nextraordinary kindness to me, which I can never enough acknowledge,", "and then fell backward, as if dying away. I presently called in the\npeople, and she never spoke more to me, and died within a few minutes\nafterwards.\"--Allworthy stood a minute silent, lifting up his eyes;", "These matters were resolved on, when Mr Blifil came to pay a visit to\nhis mistress. The squire no sooner heard of his arrival, than he stept", "the name of an amiable weakness.\" \"So much the more inexcuseable,\"\nanswered the lady; \"for whom doth he ruin by his fondness but his own\nchild?\" To which Blifil immediately agreed.", "Among others of this kind was Dr Blifil, a gentleman who had the\nmisfortune of losing the advantage of great talents by the obstinacy", "The charms of Sophia had not made the least impression on Blifil; not\nthat his heart was pre-engaged; neither was he totally insensible of", "It was to no purpose, therefore, that Thwackum, who was immediately\ncharged by Mr Blifil with the story, unbended all his rancour against", "He omitted nothing which his invention could supply, to raise and\ncomfort the drooping spirits of Blifil, before he communicated to him\nthe resolution of his uncle that he must quit the house that evening.", "Sophia past by herself; for her father swore she should never come out\nof her chamber alive, unless she first consented to marry Blifil; nor", "another. Her father chid her for crying so for a foolish bird; but\ncould not help telling young Blifil, if he was a son of his, his\nbackside should be well flead.", "Mr Allworthy had no sooner lifted up his eyes, and thanked Heaven for\nthese hopes of his recovery, than Mr Blifil drew near, with a very", "Blifil himself conceived them to be; but as the sentiments of Mr\nAllworthy were of a very different kind, so it was absolutely\nnecessary to impose on him. In this, however, Blifil was so well" ], [ "Captain Blifil took not the least notice of this, at that time; but he\nafterwards made a very notable use of it.", "cruelly.\"----He then explained to him all the treachery of Blifil, and\nagain repeated expressions of the utmost concern, for having been", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "with friendship, who can feel what she felt on this occasion. Few, I\nhope, are capable of feeling what now passed in the mind of Blifil;\nbut those who are will acknowledge that it was impossible for him to", "These matters were resolved on, when Mr Blifil came to pay a visit to\nhis mistress. The squire no sooner heard of his arrival, than he stept", "When Allworthy and Blifil were again left together, a long silence\nensued between them; all which interval the young gentleman filled up\nwith sighs, which proceeded partly from disappointment, but more from", "It is probable, that by disclosing this secret, which had been\ncommunicated in the utmost confidence to him, young Blifil preserved", "Thwackum expressed some surprize at these sudden emotions, and asked\nthe reason of them. To which Blifil answered, \"He was certain he had", "For this purpose they had cast their eyes on that fair widow, whom,\nthough we have not for some time made any mention of her, the reader,\nwe trust, hath not forgot. Mrs Blifil was indeed the object to which\nthey both aspired.", "Allworthy then desired Blifil to take care of the funeral. He said, he\nwould have his sister deposited in his own chapel; and as to the", "and then fell backward, as if dying away. I presently called in the\npeople, and she never spoke more to me, and died within a few minutes\nafterwards.\"--Allworthy stood a minute silent, lifting up his eyes;", "attention of the whole company was diverted from poor Blifil, whose\nspirit, if it had any such design, might have now taken an opportunity\nof stealing off to the other world, without any ceremony.", "Mr Allworthy had no sooner lifted up his eyes, and thanked Heaven for\nthese hopes of his recovery, than Mr Blifil drew near, with a very", "In reality, Blifil had taken some pains to prevail with the parson,\nand to prevent the discovery at that time; for which he had many", "Master Blifil answered, \"Indeed, uncle, I am very sorry for what I\nhave done; I have been unhappily the occasion of it all. I had Miss", "He omitted nothing which his invention could supply, to raise and\ncomfort the drooping spirits of Blifil, before he communicated to him\nthe resolution of his uncle that he must quit the house that evening.", "Sophia past by herself; for her father swore she should never come out\nof her chamber alive, unless she first consented to marry Blifil; nor", "Jones expressed great astonishment and no less concern at this\naccount, but without making any comment or observation upon it. And\nnow a message was brought from Mr Blifil, desiring to know if his", "Jones, to whom all the resolutions which had been taken in favour of\nBlifil were yet a secret, was at first almost struck dead with this", "Blifil himself conceived them to be; but as the sentiments of Mr\nAllworthy were of a very different kind, so it was absolutely\nnecessary to impose on him. In this, however, Blifil was so well" ], [ "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "For this purpose, then, Tom applied to Mr Western's daughter, a young\nlady of about seventeen years of age, whom her father, next after", "Tom was then interrogated who was with him, which Mr Allworthy\ndeclared he was resolved to know, acquainting the culprit with the", "The beauty of this girl made, however, no impression on Tom, till she\ngrew towards the age of sixteen, when Tom, who was near three years", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "which he bid her cloath her children. The poor woman burst into tears\nat this goodness, and while she was thanking him, could not refrain\nfrom expressing her gratitude to Tom; who had, she said, long", "Matters were in this situation, when Tom, one afternoon, finding\nSophia alone, began, after a short apology, with a very serious face,", "Nancy was, in vulgar language, soon made an honest woman, and the poor\nmother became, in the purest sense of the word, one of the happiest of\nall human beings.", "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "his couch, gave his daughter a kiss, and swore her hand was greatly\nimproved. She took this opportunity to execute her promise to Tom; in\nwhich she succeeded so well, that the squire declared, if she would", "\"Whatever may be my fate,\" says Tom, \"let me succeed in my\nintercessions for the poor girl. I confess I have corrupted her! but", "\"You will easily conceive, my dear Graveairs (I ask your pardon, I\nreally forgot myself), that, when a woman makes an imprudent match in", "suggest, to subdue and expel it. In this she so far succeeded, that\nshe began to hope from time and absence a perfect cure. She resolved\ntherefore to avoid Tom Jones as much as possible; for which purpose", "Goody Seagrim then began to revile her daughter afresh. \"Here,\" says\nshe, \"you have brought us into a fine quandary indeed. What will madam\nsay to that big belly? Oh that ever I should live to see this day!\"", "Tom was now mounted on the back of a footman, and everything prepared\nfor execution, when Mr Allworthy, entering the room, gave the criminal", "Tom, though against all form of law, rejoined in affirmance of the\nwords. Upon which Master Blifil said, \"It is no wonder. Those who will", "Tom promised faithfully to obey her commands; and after thanking her\nfor her kind compliance with his request, took his leave, and departed\nhighly charmed with his success.", "Thwackum fell violently on poor Tom, who stood dropping and shivering\nbefore him, when Mr Allworthy desired him to have patience; and", "that Jones had more regard for her virtue than she herself. And as\nmost probably she liked Tom as well as he liked her, so when she\nperceived his backwardness she herself grew proportionably forward;" ], [ "Tom was now mounted on the back of a footman, and everything prepared\nfor execution, when Mr Allworthy, entering the room, gave the criminal", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "Tom, though against all form of law, rejoined in affirmance of the\nwords. Upon which Master Blifil said, \"It is no wonder. Those who will", "The gamekeeper, being a suspected person, was now sent for, and the\nquestion put to him; but he, relying on the promise which Tom had made", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Tom answered, he could in duty refuse him nothing; but as for that\ntyrannical rascal, he would never make him any other answer than with\na cudgel, with which he hoped soon to be able to pay him for all his\nbarbarities.", "Tom begged to be excused, for that he had particular business; and\ngetting up from table, escaped the clutches of the squire, who was\nrising to stop him, and went off with very little ceremony.", "Tom was then interrogated who was with him, which Mr Allworthy\ndeclared he was resolved to know, acquainting the culprit with the", "The company, who were sitting in a room next the garden, were\ninstantly alarmed, and came all forth; but just as they reached the\ncanal, Tom (for the water was luckily pretty shallow in that part)\narrived safely on shore.", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "At his return home, Tom was presently convened before Mr Allworthy. He\nowned the fact, and alledged no other excuse but what was really true,", "Tom was no sooner informed by the constable whither they were\nproceeding (indeed he pretty well guessed it of himself), than he", "Thwackum fell violently on poor Tom, who stood dropping and shivering\nbefore him, when Mr Allworthy desired him to have patience; and", "means support the consciousness a single moment, he sent for Tom, and\nafter many kind and friendly exhortations, said, \"I am convinced, my", "The officer who commanded this gang very wisely concluded that his\nbusiness was now to deliver his prisoner into the hands of the civil\nmagistrate. He ordered him, therefore, to be carried to a", "Tom bore his punishment with great resolution; and though his master\nasked him, between every stroke, whether he would not confess, he was\ncontented to be flead rather than betray his friend, or break the\npromise he had made.", "On their return home, Tom made use of all his eloquence to display the\nwretchedness of these people, and the penitence of Black George", "Tom promised faithfully to obey her commands; and after thanking her\nfor her kind compliance with his request, took his leave, and departed\nhighly charmed with his success.", "Sophia, who had just began to deal as Tom had mentioned that a man was\nkilled, stopt her hand, and listened with attention (for all stories", "on, but what his goodness hath bestowed on us.\" For, indeed, besides\nthe horse and the Bible, Tom had sacrificed a night-gown, and other\nthings, to the use of this distressed family." ], [ "Blifil as openly as they durst, without incurring the danger of\noffending his mother. For all this, however, poor Tom smarted in the", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "with his mother; for there is no other bed in the house. Poor little\nTommy! I believe, Nancy, you will never see your favourite any more;", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "which he bid her cloath her children. The poor woman burst into tears\nat this goodness, and while she was thanking him, could not refrain\nfrom expressing her gratitude to Tom; who had, she said, long", "seldom reaches to a brother or a husband, though it rings in the ears\nof all the neighbourhood; yet was this affection of Mrs Blifil to Tom,", "For this purpose, then, Tom applied to Mr Western's daughter, a young\nlady of about seventeen years of age, whom her father, next after", "fonder of her than of any other human creature. To her, therefore, Tom\nJones applied, in order to engage her interest on the behalf of his\nfriend the gamekeeper.", "on, but what his goodness hath bestowed on us.\" For, indeed, besides\nthe horse and the Bible, Tom had sacrificed a night-gown, and other\nthings, to the use of this distressed family.", "The beauty of this girl made, however, no impression on Tom, till she\ngrew towards the age of sixteen, when Tom, who was near three years", "losing in the war.--But where is she? Prithee, Tom, show me.\" He then\nbegan to beat about, in the same language and in the same manner as if", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "\"A favour, madam!\" cries Tom: \"if you knew the pleasure you have given\nme in the hopes of receiving a command from you, you would think by", "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "On their return home, Tom made use of all his eloquence to display the\nwretchedness of these people, and the penitence of Black George", "uneasy. This Mrs Wilkins, at length, so resented, that she very openly\nshowed all manner of respect and fondness to little Tommy, in\nopposition to Mrs Blifil.", "wife.\" This small matter was one of her gowns, some linen, and ten\nshillings in money, of which Tom had heard, and it had, in reality,\nput this solicitation into his head.", "whose fondness for him he began to be jealous, Mrs Deborah had made a\ndiscovery, which, in its event, threatened at least to prove more\nfatal to poor Tommy than all the reasonings of the captain.", "those necessary implements of sport just before mentioned, loved and\nesteemed above all the world. Now, as she had some influence on the\nsquire, so Tom had some little influence on her. But this being the", "Poor Sophia, who now first heard of her little Tommy's fate (for her\nconcern for Jones had prevented her perceiving it when it happened)," ], [ "Mr Allworthy now stood silent for some moments, and before he spoke\nthe tears started from his eyes. He at length dismissed Tom with a", "of Allworthy. The tears burst from his eyes, and he fell upon his\nknees, crying, \"Oh, sir, you are too good to me. Indeed you are.", "Allworthy was almost as much shocked at this discovery as Partridge\nhimself had been while he related it. \"Good heavens!\" says he, \"in", "\"How!\" said Allworthy; \"what, did you employ him then to enquire or to\ndo anything in that matter?\" \"Not I,\" answered Western, \"he mentioned", "Allworthy. He concluded with saying, \"Now, sir, I have told your\nhonour the whole truth.\" And then repeated a most solemn protestation,", "\"Indeed, madam,\" said Allworthy, \"I have been abused by the person,\nwhoever he was, that told you so.\" \"Nay, sir,\" said she, \"I would not", "Allworthy. He was as good as his word: for he rode immediately to his\nhouse, and complained of the trespass on his manor in as high terms\nand as bitter language as if his house had been broken open, and the", "Allworthy. I question not but he will do you honour in the world, and\nmake you happy.\"--\"I wish I could make him so, madam,\" replied", "from his childhood, and had kept no secret from him, till his\nbehaviour on the sickness of Mr Allworthy had entirely alienated his\nheart; and it was by means of the quarrel which had ensued on this", "Allworthy, \"I am conscious of no crime, and cannot be afraid to hear.\"\n\"Sir,\" said she, \"that Mr Summer, the son of your friend, educated at", "acknowledge myself to have been guilty of a cruel neglect, in not\nhaving discovered it to you before. Indeed, I little knew how\nnecessary it was.\" \"Well, madam,\" said Allworthy, \"be pleased to", "Tom was then interrogated who was with him, which Mr Allworthy\ndeclared he was resolved to know, acquainting the culprit with the", "\"Indeed but he is,\" said Allworthy, \"and a brother of mine too.\"\n\n\"Bless me, sir!\" said the doctor, \"do you know the shocking affair?\"", "\"Have I then,\" said Allworthy, \"ignorantly punished an innocent man,\nin the person of him who hath just left us? Was he not the father of", "Allworthy.) He at length concluded with again blaming the action as\ninconsiderate, and which, he said, was pardonable only in a child.", "Here therefore the reader must suspend his curiosity. Certain it is\nthat, whatever was the truth of the case, there was evidence more than\nsufficient to convict him before Allworthy; indeed, much less would", "\"Indeed, sir,\" answered she, \"he was not.\" \"How!\" said Allworthy, \"to\nwhat then tends all this preface?\" \"To a story,\" said she, \"which I am", "But Mr Allworthy absolutely refused to consent to the experiment. He\nsaid, the boy had suffered enough already for concealing the truth,\neven if he was guilty, seeing that he could have no motive but a\nmistaken point of honour for so doing.", "poor Tom. Allworthy gave a patient hearing to their invectives, and\nthen answered coldly: \"That young men of Tom's complexion were too", "Allworthy bid him immediately call a servant. Tom answered there was\nno occasion; for he had luckily met them at the gate, and relying upon" ], [ "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Tom promised faithfully to obey her commands; and after thanking her\nfor her kind compliance with his request, took his leave, and departed\nhighly charmed with his success.", "his couch, gave his daughter a kiss, and swore her hand was greatly\nimproved. She took this opportunity to execute her promise to Tom; in\nwhich she succeeded so well, that the squire declared, if she would", "married to-morrow morning.\" Sophia turned pale at these words, and\nrepeated eagerly, \"To-morrow morning!\"--\"Yes, ma'am,\" replied the", "For this purpose, then, Tom applied to Mr Western's daughter, a young\nlady of about seventeen years of age, whom her father, next after", "secret, Tom. My father hath provided a match for me with a woman I\nnever saw; and she is now coming to town, in order for me to make my\naddresses to her.\"", "However, when Tom grew up, and gave tokens of that gallantry of temper\nwhich greatly recommends men to women, this disinclination which she", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "The beauty of this girl made, however, no impression on Tom, till she\ngrew towards the age of sixteen, when Tom, who was near three years", "Molly, therefore, having dressed herself out in this sack, with a new\nlaced cap, and some other ornaments which Tom had given her, repairs", "wife.\" This small matter was one of her gowns, some linen, and ten\nshillings in money, of which Tom had heard, and it had, in reality,\nput this solicitation into his head.", "those necessary implements of sport just before mentioned, loved and\nesteemed above all the world. Now, as she had some influence on the\nsquire, so Tom had some little influence on her. But this being the", "Among his other treasures, the pedagogue had a wife, whom he had\nmarried out of Mr Allworthy's kitchen for her fortune, viz., twenty\npounds, which she had there amassed.", "with the greatest part of it, and retired into the country; where he\nmarried the daughter of an unbeneficed clergyman; a young lady, who,\nthough she had neither beauty nor fortune, had recommended herself to", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "which he bid her cloath her children. The poor woman burst into tears\nat this goodness, and while she was thanking him, could not refrain\nfrom expressing her gratitude to Tom; who had, she said, long", "seldom reaches to a brother or a husband, though it rings in the ears\nof all the neighbourhood; yet was this affection of Mrs Blifil to Tom,", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "business of her life to oblige him, and would never marry any man\nagainst his consent; which brought the old man so near to his highest\nhappiness, that he was resolved to take the other step, and went to" ], [ "Chapter ii.\n\nA short description of squire Allworthy, and a fuller account of Miss\nBridget Allworthy, his sister.", "\"With whom?\" says Sophia eagerly. \"With a gentleman from Squire\nAllworthy's,\" repeated the lad; \"the squire's son, I think they call", "handsome as Miss Such-a-one, whom perhaps beauty had led into errors\nwhich she might have otherwise avoided. Miss Bridget Allworthy (for", "Chapter i -- The introduction to the work, or bill of fare to the\nfeast.\n\nChapter ii -- A short description of squire Allworthy, and a fuller\naccount of Miss Bridget Allworthy, his sister.", "\"And pray who is this young gentleman of quality, this young Squire\nAllworthy?\" said Abigail.", "When Mr Allworthy had retired to his study with Jenny Jones, as hath\nbeen seen, Mrs Bridget, with the good housekeeper, had betaken", "\"Poogh!\" says the squire: \"Injury, with Allworthy! Why, Allworthy\nloves a wench himself. Doth not all the country know whose son Tom is?", "The landlady answered in the affirmative, saying, \"There were a great\nmany very good quality and gentlefolks in it now. There's young Squire\nAllworthy, as that gentleman there knows.\"", "house of Squire Allworthy, where he was bred up as an apprentice, and\nnow turned out of doors for his misdeeds, particularly for making love", "\"What lawyer, madam? what is it you mean?\" said Allworthy. \"Nay, nay,\"\nsaid she, \"this is so like you to deny your own goodness: but Mr", "The name of this gentleman, who had then resided some time at Mr\nAllworthy's house, was Mr Square. His natural parts were not of the", "Eight months after the celebration of the nuptials between Captain\nBlifil and Miss Bridget Allworthy, a young lady of great beauty,", "fairly derived from this diabolical principle; and indeed it is\ndifficult to assign any other motive to them: for no sooner was he\npossessed of Miss Bridget, and reconciled to Allworthy, than he began", "\"Alas! sir,\" answered she, \"I know you are not, I know very well who\nyou are; for Mr Allworthy hath told me all; but I do assure you, had", "the squire. Again, he remembered that Mr Allworthy had insisted on an\nentire relinquishment of all violent means; and, indeed, as he made no", "If this part of his character pleased Mr Allworthy, it delighted Miss\nBridget. She engaged him in many religious controversies; on which\noccasions she constantly expressed great satisfaction in the doctor's", "matter, Mr Western?\" said Allworthy. \"O, matter enow of all\nconscience: my daughter hath fallen in love with your bastard, that's", "The usual compliments having past between Mr Allworthy and Miss\nBridget, and the tea being poured out, he summoned Mrs Wilkins, and", "Allworthy, \"I am conscious of no crime, and cannot be afraid to hear.\"\n\"Sir,\" said she, \"that Mr Summer, the son of your friend, educated at", "to Mr Allworthy, who was much surprized at the relation; for he had\nheard of the extraordinary parts and improvements of this girl, whom\nhe intended to have given in marriage, together with a small living," ], [ "When Allworthy returned to his lodgings, he heard Mr Jones was just\narrived before him. He hurried therefore instantly into an empty\nchamber, whither he ordered Mr Jones to be brought to him alone.", "When Allworthy returned to his lodgings, he immediately carried Jones\ninto his room, and then acquainted him with the whole matter, as well\nwhat he had heard from Mrs Waters as what he had discovered from Mr\nDowling.", "Allworthy said he should be glad to find his nephew there at his\nreturn home; but that he was then obliged to go on some business of\nconsequence. He then called to a servant to fetch him a chair, and\npresently left the two ladies together.", "Allworthy. He was as good as his word: for he rode immediately to his\nhouse, and complained of the trespass on his manor in as high terms\nand as bitter language as if his house had been broken open, and the", "As soon as Mr Allworthy returned home, he took Mr Blifil apart, and\nafter some preface, communicated to him the proposal which had been\nmade by Mr Western, and at the same time informed him how agreeable\nthis match would be to himself.", "of Allworthy. The tears burst from his eyes, and he fell upon his\nknees, crying, \"Oh, sir, you are too good to me. Indeed you are.", "Allworthy, with great chearfulness, told her that he had much good\nnews to communicate; and, with little further preface, acquainted her\nthat he had brought Mr Nightingale to consent to see his son, and did", "He grew, however, soon ashamed of indulging this remedy; and starting\nup, he cried, \"Well, then, I will give Mr Allworthy the only instance", "Mr Allworthy had been engaged to dine with Mr Western at the time when\nhe was taken ill. He was therefore no sooner discharged out of the", "immediately. Allworthy then enquired for his nephew, and was told that\nhe had been for some time in his room with the gentleman who used to", "Allworthy, though not without reluctance, at last yielded to the\ndesires of his nephew. He said he would accompany him to London, where", "and then fell backward, as if dying away. I presently called in the\npeople, and she never spoke more to me, and died within a few minutes\nafterwards.\"--Allworthy stood a minute silent, lifting up his eyes;", "money for Mr Allworthy, and to make a report to him of some other\nbusiness; in all which, as it was of much too dull a nature to find", "\"How!\" said Allworthy; \"what, did you employ him then to enquire or to\ndo anything in that matter?\" \"Not I,\" answered Western, \"he mentioned", "answered he. \"Why, then, sir,\" cries Allworthy, \"I can truly say,\nwithout a compliment either to you or the young lady, that when this", "One day, then, as Allworthy was walking in his garden, the doctor came\nto him, and, with great gravity of aspect, and all the concern which", "\"Indeed, madam,\" said Allworthy, \"I have been abused by the person,\nwhoever he was, that told you so.\" \"Nay, sir,\" said she, \"I would not", "Mr Allworthy's distemper, by means of this neglect, gained such\nground, that, when the increase of his fever obliged him to send for", "The letter then which arrived at the end of the preceding chapter was\nfrom Mr Allworthy, and the purport of it was, his intention to come", "Allworthy. He concluded with saying, \"Now, sir, I have told your\nhonour the whole truth.\" And then repeated a most solemn protestation," ], [ "Hence, perhaps, it was, that the good woman first mentioned the name\nof this poor girl to Mrs Wilkins; but there was another circumstance", "of me, were all thrown out to prevent any suspicion which Wilkins\nmight hereafter have, when I was to own the child; for she thought it\ncould never be believed she would venture to hurt a young woman with", "The next step was to examine among the inhabitants of the parish; and\nthis was referred to Mrs Wilkins, who was to enquire with all\nimaginable diligence, and to make her report in the afternoon.", "as to Mrs Wilkins, she had long since given him up, and was perfectly\nreconciled to her mistress. This friend was the gamekeeper, a fellow", "with the occasion of them, very well contented me. Indeed, the lady\nhad a greater suspicion of Mrs Wilkins than of any other person; not\nthat she had the least aversion to the gentlewoman, but she thought", "she afterwards suffered in child-birth. It was then contrived that my\nmother and myself only should attend at the time, and that Mrs Wilkins\nshould be sent out of the way, as she accordingly was, to the very", "A consultation was now entered into how to proceed in order to\ndiscover the mother. A scrutiny was first made into the characters of\nthe female servants of the house, who were all acquitted by Mrs", "Mrs Wilkins had long ago heard of this quarrel; but, as a different\ncause from the true one had reached her ears, she thought proper to", "Mr Allworthy's return, by Mrs Wilkins herself, though that sagacious\nperson had not at first conceived any suspicion of her on that\naccount: for, as she herself said, \"She had always esteemed Jenny as a", "of character, that it was expected, especially by Wilkins, that she\nwould have vented much bitterness on this occasion, and would have\nvoted for sending the child, as a kind of noxious animal, immediately", "But if such was her expectation, how was she disappointed when Mrs\nWilkins, according to the order she had received from her master,", "uneasy. This Mrs Wilkins, at length, so resented, that she very openly\nshowed all manner of respect and fondness to little Tommy, in\nopposition to Mrs Blifil.", "her incapable of keeping a secret, especially from you, sir; for I\nhave often heard Miss Bridget say, that, if Mrs Wilkins had committed\na murder, she believed she would acquaint you with it. At last the", "But Mrs Wilkins, whose eyes could see objects at a distance, and who\ncould very well look forward a few years into futurity, had perceived", "is probable from certain other reasons, would never have been brought\nto depose as she did, had not Mrs Wilkins, with great art, fished all", "expected day came, and Mrs Wilkins, who had been kept a week in\nreadiness, and put off from time to time, upon some pretence or other,", "Mrs Wilkins having therefore, by accident, gotten a true scent of the\nabove story,--though long after it had happened, failed not to satisfy", "falshood for that purpose. Mrs Western, having drained Mrs Miller of\nall she knew, which, indeed, was but little, but which was sufficient\nto make the aunt suspect a great deal, dismissed her with assurances", "had in something offended Mrs Wilkins, who was not of a very forgiving\ntemper.", "Miss Nancy and her supposed husband both turned pale, and looked\nrather foolish than otherwise upon the occasion; but Mrs Miller took\nthe first opportunity of withdrawing; and, having sent for Jones into" ], [ "cruelly.\"----He then explained to him all the treachery of Blifil, and\nagain repeated expressions of the utmost concern, for having been", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "These matters were resolved on, when Mr Blifil came to pay a visit to\nhis mistress. The squire no sooner heard of his arrival, than he stept", "It is probable, that by disclosing this secret, which had been\ncommunicated in the utmost confidence to him, young Blifil preserved", "Among others of this kind was Dr Blifil, a gentleman who had the\nmisfortune of losing the advantage of great talents by the obstinacy", "Mr Allworthy had no sooner lifted up his eyes, and thanked Heaven for\nthese hopes of his recovery, than Mr Blifil drew near, with a very", "When Allworthy and Blifil were again left together, a long silence\nensued between them; all which interval the young gentleman filled up\nwith sighs, which proceeded partly from disappointment, but more from", "with friendship, who can feel what she felt on this occasion. Few, I\nhope, are capable of feeling what now passed in the mind of Blifil;\nbut those who are will acknowledge that it was impossible for him to", "In reality, Blifil had taken some pains to prevail with the parson,\nand to prevent the discovery at that time; for which he had many", "Thwackum expressed some surprize at these sudden emotions, and asked\nthe reason of them. To which Blifil answered, \"He was certain he had", "He omitted nothing which his invention could supply, to raise and\ncomfort the drooping spirits of Blifil, before he communicated to him\nthe resolution of his uncle that he must quit the house that evening.", "As the love which Blifil had for Sophia was of that violent kind,\nwhich nothing but the loss of her fortune, or some such accident,", "and then fell backward, as if dying away. I presently called in the\npeople, and she never spoke more to me, and died within a few minutes\nafterwards.\"--Allworthy stood a minute silent, lifting up his eyes;", "Wine had not so totally overpowered Jones, as to prevent his\nrecollecting Mr Blifil's loss, the moment it was mentioned. As no", "Master Blifil answered, \"Indeed, uncle, I am very sorry for what I\nhave done; I have been unhappily the occasion of it all. I had Miss", "Allworthy then desired Blifil to take care of the funeral. He said, he\nwould have his sister deposited in his own chapel; and as to the", "\"I desire no more,\" cries Blifil; \"I am convinced my dear uncle hath a\nbetter opinion of me than to think that I myself would accept of\nmore.\"", "ceremony than the laws of visiting require. Sophia no sooner saw\nBlifil than she turned pale, and almost lost the use of all her", "Jones, to whom all the resolutions which had been taken in favour of\nBlifil were yet a secret, was at first almost struck dead with this", "It was to no purpose, therefore, that Thwackum, who was immediately\ncharged by Mr Blifil with the story, unbended all his rancour against" ], [ "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "The beauty of this girl made, however, no impression on Tom, till she\ngrew towards the age of sixteen, when Tom, who was near three years", "those necessary implements of sport just before mentioned, loved and\nesteemed above all the world. Now, as she had some influence on the\nsquire, so Tom had some little influence on her. But this being the", "The reader will be mistaken, if he thinks Molly gave Square the\npreference to her younger lover: on the contrary, had she been\nconfined to the choice of one only, Tom Jones would undoubtedly have", "fonder of her than of any other human creature. To her, therefore, Tom\nJones applied, in order to engage her interest on the behalf of his\nfriend the gamekeeper.", "Among other of his conquests, this fellow had triumphed over the heart\nof Betty Seagrim. He had made love to her long before Molly was grown", "that Jones had more regard for her virtue than she herself. And as\nmost probably she liked Tom as well as he liked her, so when she\nperceived his backwardness she herself grew proportionably forward;", "However, when Tom grew up, and gave tokens of that gallantry of temper\nwhich greatly recommends men to women, this disinclination which she", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "For this purpose, then, Tom applied to Mr Western's daughter, a young\nlady of about seventeen years of age, whom her father, next after", "older, began first to cast the eyes of affection upon her. And this\naffection he had fixed on the girl long before he could bring himself\nto attempt the possession of her person: for though his constitution", "Tom promised faithfully to obey her commands; and after thanking her\nfor her kind compliance with his request, took his leave, and departed\nhighly charmed with his success.", "He then snatched her hand, and eagerly kissed it, which was the first\ntime his lips had ever touched her. The blood, which before had", "Poor Sophia, who now first heard of her little Tommy's fate (for her\nconcern for Jones had prevented her perceiving it when it happened),", "where Tom (who for his great love of hunting was become a great\nfavourite of the squire) often dined. Young men of open, generous\ndispositions are naturally inclined to gallantry, which, if they have", "whose fondness for him he began to be jealous, Mrs Deborah had made a\ndiscovery, which, in its event, threatened at least to prove more\nfatal to poor Tommy than all the reasonings of the captain.", "Sophia, seeing her bird gone, screamed out so loud, that Tom Jones,\nwho was at a little distance, immediately ran to her assistance.", "preference which Mrs Blifil gave to Tom, than that poor youth (however\ninnocent) began to sink in his affections as he rose in hers. This, it", "Tom Jones, when very young, had presented Sophia with a little bird,\nwhich he had taken from the nest, had nursed up, and taught to sing." ], [ "The amiable Sophia was now in her eighteenth year, when she is\nintroduced into this history. Her father, as hath been said, was", "It is now time to look after Sophia; whom the reader, if he loves her\nhalf so well as I do, will rejoice to find escaped from the clutches\nof her passionate father, and from those of her dispassionate lover.", "Poor Sophia, however, who, in her prison, heard all her father's\noutcries from first to last, began now first to thunder with her foot,", "But in reality this was not the case. Sophia had been lately so\ndistracted between hope and fear, her duty and love to her father, her", "Sophia, notwithstanding her fright, presently knew her father's voice;\nand his lordship, notwithstanding his passion, knew the voice of", "Jones departed instantly in quest of Sophia, whom he found just risen\nfrom the ground, where her father had left her, with the tears", "as he well knew the strict obedience which Sophia was always ready to\npay to her father's will, and the greater still which her father would\nexact, if there was occasion. This authority, therefore, together with", "Sophia now desired her father to return home; saying she found herself\nvery faint, and apprehended a relapse. The squire immediately complied", "\"Madam--madam--who doth your ladyship think is in the house?\" Sophia,\nstarting up, cried, \"I hope my father hath not overtaken us.\" \"No,", "Sophia past by herself; for her father swore she should never come out\nof her chamber alive, unless she first consented to marry Blifil; nor", "Sophia soon yielded to the commands of her father, though entirely\ncontrary to her own inclinations, for she suspected, I believe, less", "Sophia was not greatly pleased with this news, nor with the gentleman\nwho related it; but, as she still imagined he knew her (for she could", "Sophia perceiving her father in this fit of affection, which she did\nnot absolutely know the reason of (for fits of fondness were not", "Sophia hath already produced him two fine children, a boy and a girl,\nof whom the old gentleman is so fond, that he spends much of his time", "In pursuance, therefore, of her father's peremptory command, Sophia\nnow admitted Mr Blifil's visit. Scenes like this, when painted at", "Sophia took absolute possession of it. He loved her with an unbounded\npassion, and plainly saw the tender sentiments she had for him; yet\ncould not this assurance lessen his despair of obtaining the consent", "she possibly become the means of preserving Sophia from this man, and\nof restoring her to her father, she should, in all human probability,\nby so great a service to the family, reconcile to herself both her", "Thus, that Sophia saw, and that Western did not see, the plain\nsymptoms of love in Jones can be no wonder, when we consider that the\nidea of love never entered into the head of the father, whereas the", "with. He desired leave to go to Sophia, that he might endeavour to\nobtain her concurrence with her father's inclinations.", "Sophia; for I have frequently observed her, of later days, to bear it\nabout her.\" \"My daughter's muff!\" cries the squire in a rage. \"Hath he" ], [ "At his return home, Tom was presently convened before Mr Allworthy. He\nowned the fact, and alledged no other excuse but what was really true,", "Allworthy. He was as good as his word: for he rode immediately to his\nhouse, and complained of the trespass on his manor in as high terms\nand as bitter language as if his house had been broken open, and the", "Allworthy gave Jones, which was no less than five hundred pounds; but\nall agreed that he was sent away penniless, and some said naked, from\nthe house of his inhuman father.", "Mr Allworthy now stood silent for some moments, and before he spoke\nthe tears started from his eyes. He at length dismissed Tom with a", "Mr Allworthy very severely reprimanded the lad for his indecent and\ndisrespectful expressions concerning his master; but much more for his\navowing an intention of revenge. He threatened him with the entire", "Allworthy. He concluded with saying, \"Now, sir, I have told your\nhonour the whole truth.\" And then repeated a most solemn protestation,", "Allworthy bid him immediately call a servant. Tom answered there was\nno occasion; for he had luckily met them at the gate, and relying upon", "poor Tom. Allworthy gave a patient hearing to their invectives, and\nthen answered coldly: \"That young men of Tom's complexion were too", "from his childhood, and had kept no secret from him, till his\nbehaviour on the sickness of Mr Allworthy had entirely alienated his\nheart; and it was by means of the quarrel which had ensued on this", "Allworthy answered, \"That he had forgiven him too often already, in\ncompassion to his youth, and in hopes of his amendment: that he now", "killed), for depredations of the like kind. This was a most\nunfortunate circumstance for the fellow, as it not only of itself\nthreatened his ruin, but actually prevented Mr Allworthy from", "house of Squire Allworthy, where he was bred up as an apprentice, and\nnow turned out of doors for his misdeeds, particularly for making love", "Allworthy.) He at length concluded with again blaming the action as\ninconsiderate, and which, he said, was pardonable only in a child.", "Here therefore the reader must suspend his curiosity. Certain it is\nthat, whatever was the truth of the case, there was evidence more than\nsufficient to convict him before Allworthy; indeed, much less would", "He grew, however, soon ashamed of indulging this remedy; and starting\nup, he cried, \"Well, then, I will give Mr Allworthy the only instance", "But Mr Allworthy absolutely refused to consent to the experiment. He\nsaid, the boy had suffered enough already for concealing the truth,\neven if he was guilty, seeing that he could have no motive but a\nmistaken point of honour for so doing.", "of Allworthy. The tears burst from his eyes, and he fell upon his\nknees, crying, \"Oh, sir, you are too good to me. Indeed you are.", "Allworthy stared at all this, and declared he was a stranger to every\nword she said. \"Yes, sir,\" answered she, \"I believe you are.----It is\na very different story, I believe, from what those fellows told this\nlawyer.\"", "\"Indeed, madam,\" said Allworthy, \"I have been abused by the person,\nwhoever he was, that told you so.\" \"Nay, sir,\" said she, \"I would not", "\"Indeed, sir,\" answered she, \"he was not.\" \"How!\" said Allworthy, \"to\nwhat then tends all this preface?\" \"To a story,\" said she, \"which I am" ], [ "Tom was now mounted on the back of a footman, and everything prepared\nfor execution, when Mr Allworthy, entering the room, gave the criminal", "said, a neighbouring gentleman, who had just recovered a son from the\nsame place, informed him where I was; and that to reclaim me from this\ncourse of life was the sole cause of his journey to London.' He", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Chapter ii.\n\nWhat befel Mr Jones on his arrival in London.", "Tom, though against all form of law, rejoined in affirmance of the\nwords. Upon which Master Blifil said, \"It is no wonder. Those who will", "Tom answered, he could in duty refuse him nothing; but as for that\ntyrannical rascal, he would never make him any other answer than with\na cudgel, with which he hoped soon to be able to pay him for all his\nbarbarities.", "The company, who were sitting in a room next the garden, were\ninstantly alarmed, and came all forth; but just as they reached the\ncanal, Tom (for the water was luckily pretty shallow in that part)\narrived safely on shore.", "At his return home, Tom was presently convened before Mr Allworthy. He\nowned the fact, and alledged no other excuse but what was really true,", "Tom begged to be excused, for that he had particular business; and\ngetting up from table, escaped the clutches of the squire, who was\nrising to stop him, and went off with very little ceremony.", "reminded her of her intention to go to London, and gave frequent hints\nof the impropriety of pursuing a young fellow, she at last concluded", "On their return home, Tom made use of all his eloquence to display the\nwretchedness of these people, and the penitence of Black George", "Blifil as openly as they durst, without incurring the danger of\noffending his mother. For all this, however, poor Tom smarted in the", "Tom was no sooner informed by the constable whither they were\nproceeding (indeed he pretty well guessed it of himself), than he", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "Tom was then interrogated who was with him, which Mr Allworthy\ndeclared he was resolved to know, acquainting the culprit with the", "a reprieve, and took him with him into another apartment; where, being\nalone with Tom, he put the same question to him which Thwackum had\nbefore asked him.", "second evening arrived in London, without having encountered any one\nadventure on the road worthy the dignity of this history to relate.\nOur pen, therefore, shall imitate the expedition which it describes,", "attitude in which we often see fellows in the public streets of\nLondon, who are not suffering but deserving punishment by so standing.\nHe had a nightcap belonging to Molly on his head, and his two large", "Our company were now arrived within a mile of Highgate, when the\nstranger turned short upon Jones, and pulling out a pistol, demanded\nthat little bank-note which Partridge had mentioned." ], [ "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Blifil as openly as they durst, without incurring the danger of\noffending his mother. For all this, however, poor Tom smarted in the", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "with his mother; for there is no other bed in the house. Poor little\nTommy! I believe, Nancy, you will never see your favourite any more;", "which he bid her cloath her children. The poor woman burst into tears\nat this goodness, and while she was thanking him, could not refrain\nfrom expressing her gratitude to Tom; who had, she said, long", "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "However, what she withheld from the infant, she bestowed with the\nutmost profuseness on the poor unknown mother, whom she called an", "For this purpose, then, Tom applied to Mr Western's daughter, a young\nlady of about seventeen years of age, whom her father, next after", "The beauty of this girl made, however, no impression on Tom, till she\ngrew towards the age of sixteen, when Tom, who was near three years", "Poor Sophia, who now first heard of her little Tommy's fate (for her\nconcern for Jones had prevented her perceiving it when it happened),", "\"A favour, madam!\" cries Tom: \"if you knew the pleasure you have given\nme in the hopes of receiving a command from you, you would think by", "uneasy. This Mrs Wilkins, at length, so resented, that she very openly\nshowed all manner of respect and fondness to little Tommy, in\nopposition to Mrs Blifil.", "fonder of her than of any other human creature. To her, therefore, Tom\nJones applied, in order to engage her interest on the behalf of his\nfriend the gamekeeper.", "Nancy was, in vulgar language, soon made an honest woman, and the poor\nmother became, in the purest sense of the word, one of the happiest of\nall human beings.", "on, but what his goodness hath bestowed on us.\" For, indeed, besides\nthe horse and the Bible, Tom had sacrificed a night-gown, and other\nthings, to the use of this distressed family.", "seldom reaches to a brother or a husband, though it rings in the ears\nof all the neighbourhood; yet was this affection of Mrs Blifil to Tom,", "Tom Jones, who, bad as he is, must serve for the heroe of this\nhistory, had only one friend among all the servants of the family; for", "Mr Allworthy now stood silent for some moments, and before he spoke\nthe tears started from his eyes. He at length dismissed Tom with a", "wife.\" This small matter was one of her gowns, some linen, and ten\nshillings in money, of which Tom had heard, and it had, in reality,\nput this solicitation into his head." ], [ "Sophia hath already produced him two fine children, a boy and a girl,\nof whom the old gentleman is so fond, that he spends much of his time", "married to-morrow morning.\" Sophia turned pale at these words, and\nrepeated eagerly, \"To-morrow morning!\"--\"Yes, ma'am,\" replied the", "This was a cruel question to poor Sophia. She had observed Tom's\ncolour change at the parson's story; and that, with his hasty and", "Poor Sophia, who now first heard of her little Tommy's fate (for her\nconcern for Jones had prevented her perceiving it when it happened),", "Matters were in this situation, when Tom, one afternoon, finding\nSophia alone, began, after a short apology, with a very serious face,", "We now return to take leave of Mr Jones and Sophia, who, within two\ndays after their marriage, attended Mr Western and Mr Allworthy into", "Sophia, who had just began to deal as Tom had mentioned that a man was\nkilled, stopt her hand, and listened with attention (for all stories", "It is now time to look after Sophia; whom the reader, if he loves her\nhalf so well as I do, will rejoice to find escaped from the clutches\nof her passionate father, and from those of her dispassionate lover.", "married to-morrow?\" \"Such are your commands, sir,\" cries Sophia, \"and\nI dare not be guilty of disobedience.\" \"I hope, madam,\" cries", "the other. To say the truth, Sophia, when very young, discerned that\nTom, though an idle, thoughtless, rattling rascal, was nobody's enemy", "Chapter viii.\n\nContaining various matters.\n\n\nBefore we return to Mr Jones, we will take one more view of Sophia.", "The amiable Sophia was now in her eighteenth year, when she is\nintroduced into this history. Her father, as hath been said, was", "Sophia took absolute possession of it. He loved her with an unbounded\npassion, and plainly saw the tender sentiments she had for him; yet\ncould not this assurance lessen his despair of obtaining the consent", "One day, when Sophia was playing on the harpsichord, and Jones was\nattending, the squire came into the room, crying, \"There, Tom, I have", "Sophia heaved a deep sigh, and answered, \"Indeed, Harriet, I pity you\nfrom my soul!----But what could you expect? Why, why, would you marry\nan Irishman?\"", "indeed, cousin,\" answered Sophia. \"Perhaps half a score.\" \"Half a\nscore! half a thousand, child!\" answered the other. \"I read a good", "Mrs Western had been engaged abroad all that day. The squire met her\nat her return home; and when she enquired after Sophia, he acquainted", "The former of these went directly in quest of Sophia, whither we\nlikewise shall now attend her.\n\n\n\nChapter vi.\n\nIn which Mrs Miller pays a visit to Sophia.", "The clock had now struck seven, and poor Sophia, alone and melancholy,\nsat reading a tragedy. It was the Fatal Marriage; and she was now come", "As we have now brought Sophia into safe hands, the reader will, I\napprehend, be contented to deposit her there a while, and to look a" ], [ "Chapter xii -- In which the Man of the Hill continues his history.\n\nChapter xiii -- In which the foregoing story is farther continued.", "Chapter x -- In which our travellers meet with a very extraordinary\nadventure.\n\nChapter xi -- In which the Man of the Hill begins to relate his\nhistory.", "Chapter iv -- Containing two letters in very different stiles.\n\nChapter v -- In which the history is continued.\n\nChapter vi -- In which the history is farther continued.", "Chapter i -- A comparison between the world and the stage.\n\nChapter ii -- Containing a conversation which Mr Jones had with\nhimself.\n\nChapter iii -- Containing several dialogues.", "\"But I have tired you already with too many particulars. I will now\nbring my story to a very speedy conclusion. In short, then, after many", "Chapter ix -- Containing strange matters.\n\nChapter x -- A short chapter, which concludes the book.", "Chapter vii -- Continuation of the history.\n\nChapter viii -- Further continuation.\n\nChapter ix -- A further continuation.", "Chapter xiii.\n\nIn which the foregoing story is farther continued.", "Chapter v -- A short account of the history of Mrs Miller.\n\nChapter vi -- Containing a scene which we doubt not will affect all\nour readers.", "What this dreadful matter was, the reader will be informed, after we\nhave first related the many preceding steps which produced it, and\nthose will be the subject of the following book.", "Chapter i -- An Invocation.\n\nChapter ii -- What befel Mr Jones on his arrival in London.", "Chapter iii -- The departure of Jones from Upton, with what passed\nbetween him and Partridge on the road.\n\nChapter iv -- The adventure of a beggar-man.", "BOOK VII.\n\nCONTAINING THREE DAYS.\n\n\n\nChapter i.", "Chapter xiv -- A most dreadful chapter indeed; and which few readers\nought to venture upon in an evening, especially when alone.\n\nChapter xv -- The conclusion of the foregoing adventure.", "Chapter iii -- Which all who have no heart will think to contain much\nado about nothing.\n\nChapter iv -- A little chapter, in which is contained a little\nincident.", "We are now, reader, arrived at the last stage of our long journey. As\nwe have, therefore, travelled together through so many pages, let us", "Chapter vii -- In which various misfortunes befel poor Jones.\n\nChapter viii -- Short and sweet.\n\nChapter ix -- Containing love-letters of several sorts.", "Chapter vii -- In which are concluded the adventures that happened at\nthe inn at Upton.\n\nChapter viii -- In which the history goes backward.\n\nChapter ix -- The escape of Sophia.", "Chapter ii -- In which the landlady pays a visit to Mr Jones.\n\nChapter iii -- In which the surgeon makes his second appearance.", "Just as Sophia arrived at the conclusion of her story, there arrived\nin the room where the two ladies were sitting a noise, not unlike, in" ], [ "return to England.\"--\"Then, sir,\" said he, \"it was about half a year\nago that I landed at Bristol, where I staid some time, and not finding", "In that part of the western division of this kingdom which is commonly\ncalled Somersetshire, there lately lived, and perhaps lives still, a", "frost was broken (which might perhaps be no small motive to his\nhastening home), set forwards, or rather backwards, for Somersetshire;", "Somersetshire; and now Jones casting his eyes upon this person,\npresently discovered him to be Mr Dowling, the lawyer, with whom he\nhad dined at Gloucester, and with much courtesy returned the", "Mrs Western was now at her brother's house, where she had resided ever\nsince the flight of Sophia, in order to administer comfort to the poor", "prudent housekeeper by no means relied upon it, as she had often known\nthe sentiments of the lady in her brother's absence to differ greatly\nfrom those which she had expressed in his presence. Miss Bridget did", "into his room, and see whether he be in his own bed or no.\" She\naccordingly did this by Sophia's desire, and returned with an answer\nin the negative.", "Mr Fitzpatrick having received the letter before mentioned from Mrs\nWestern, and being by that means acquainted with the place to which\nhis wife was retired, returned directly to Bath, and thence the day\nafter set forward to London.", "The hostler having informed him that she had crossed the Severn, he\nlikewise past that river with his equipage, and rode full speed,\nvowing the utmost vengeance against poor Sophia, if he should but", "The bargain being thus struck, the lad turned aside into the Bristol\nroad, and Sophia set forward in pursuit of Jones, highly contrary to", "with us at any tavern in Bridges-street.\" He then proceeded to\ndescribe her person exactly (for he had seen her with her aunt), and", "The reader will be pleased to remember, that we left Mr Jones, in the\nbeginning of this book, on his road to Bristol; being determined to\nseek his fortune at sea, or rather, indeed, to fly away from his\nfortune on shore.", "said, a neighbouring gentleman, who had just recovered a son from the\nsame place, informed him where I was; and that to reclaim me from this\ncourse of life was the sole cause of his journey to London.' He", "produced the little infant? Great surprizes, as hath been observed,\nare apt to be silent; and so was Miss Bridget, till her brother began,", "He now lived, for the most part, retired in the country, with one\nsister, for whom he had a very tender affection. This lady was now", "Whether any of these motives operated on the doctor, we will not\ndetermine; but so the fact was. He sent for his brother, and easily\nfound means to introduce him at Allworthy's as a person who intended\nonly a short visit to himself.", "concluded with saying, \"that her father had a great estate in\nSomersetshire.\"", "hole in the wall was by Thisbe of old. This served to many good\npurposes. For by such means Mrs Bridget became often acquainted with\nher brother's inclinations, without giving him the trouble of", "any in Somersetshire. Did you never hear of the great Squire Western,\nsirrah? She is his only daughter; she is----, and heiress to all his", "Thus ended the many odd adventures which Mr Jones encountered at his\ninn at Upton, where they talk, to this day, of the beauty and lovely\nbehaviour of the charming Sophia, by the name of the Somersetshire\nangel." ], [ "yourself.\" \"That I do not,\" answered she; \"he was indeed the father of\nthis child, but not by me.\" \"Take care, madam,\" said Allworthy, \"do", "matter, Mr Western?\" said Allworthy. \"O, matter enow of all\nconscience: my daughter hath fallen in love with your bastard, that's", "you, and buried as if he had been your own; that Summer, sir, was the\nfather of this child.\" \"How!\" said Allworthy; \"you contradict", "Such a scene as this could not fail of affecting the heart of Mr\nAllworthy. He immediately gave the mother a couple of guineas, with", "\"What lawyer, madam? what is it you mean?\" said Allworthy. \"Nay, nay,\"\nsaid she, \"this is so like you to deny your own goodness: but Mr", "for my secrecy and my shame.\" \"Who could this woman be?\" said\nAllworthy. \"Indeed, I tremble to name her,\" answered Mrs Waters. \"By", "\"Indeed, madam,\" said Allworthy, \"I have been abused by the person,\nwhoever he was, that told you so.\" \"Nay, sir,\" said she, \"I would not", "Mr Allworthy's return, by Mrs Wilkins herself, though that sagacious\nperson had not at first conceived any suspicion of her on that\naccount: for, as she herself said, \"She had always esteemed Jenny as a", "\"Upon my word,\" said she, \"you tell me strange news; for I know Mr\nAllworthy of Somersetshire very well, and I know he hath no son\nalive.\"", "\"Alas! sir,\" answered she, \"I know you are not, I know very well who\nyou are; for Mr Allworthy hath told me all; but I do assure you, had", "\"Indeed, sir,\" answered she, \"he was not.\" \"How!\" said Allworthy, \"to\nwhat then tends all this preface?\" \"To a story,\" said she, \"which I am", "me as I stood alone by her bedside, when she delivered me the letter I\nbrought your worship from her.\"--\"What letter?\" cries Allworthy.--\"The", "Perhaps the reader may account for this behaviour from her\ncondescension to Mr Allworthy, when we have informed him that the good\nman had ended his narrative with owning a resolution to take care of", "Allworthy, \"I am conscious of no crime, and cannot be afraid to hear.\"\n\"Sir,\" said she, \"that Mr Summer, the son of your friend, educated at", "\"Indeed but he is,\" said Allworthy, \"and a brother of mine too.\"\n\n\"Bless me, sir!\" said the doctor, \"do you know the shocking affair?\"", "Chapter iii.\n\nAn odd accident which befel Mr Allworthy at his return home. The\ndecent behaviour of Mrs Deborah Wilkins, with some proper\nanimadversions on bastards.", "woman, the person,\" cries she, \"to whom all this discovery is\nowing?\"--\"She is indeed,\" says Allworthy.--\"Why, then,\" cried Mrs", "\"Now, my good friend,\" continued Allworthy, \"I have dwelt so long on\nthe merit of this young lady, partly as I really am in love with her", "answered he. \"Why, then, sir,\" cries Allworthy, \"I can truly say,\nwithout a compliment either to you or the young lady, that when this", "acknowledge myself to have been guilty of a cruel neglect, in not\nhaving discovered it to you before. Indeed, I little knew how\nnecessary it was.\" \"Well, madam,\" said Allworthy, \"be pleased to" ], [ "Eight months after the celebration of the nuptials between Captain\nBlifil and Miss Bridget Allworthy, a young lady of great beauty,", "This brother he made no doubt would succeed; for he discerned, as he\nthought, an inclination to marriage in the lady; and the reader", "hole in the wall was by Thisbe of old. This served to many good\npurposes. For by such means Mrs Bridget became often acquainted with\nher brother's inclinations, without giving him the trouble of", "Chapter ii.\n\nA short description of squire Allworthy, and a fuller account of Miss\nBridget Allworthy, his sister.", "intended bride herself would confirm it with her lips. As to the\nwedding, it had the evening before been fixed, by the male parties, to\nbe celebrated on the next morning save one.", "Miss Bridget is an example of all these observations. She had not been\nmany times in the captain's company before she was seized with this", "with us at any tavern in Bridges-street.\" He then proceeded to\ndescribe her person exactly (for he had seen her with her aunt), and", "This marriage was the luckiest incident which could have happened to\nthe young gentleman; for these brothers lived in a constant state of\ncontention about the government of their children, both heartily", "produced the little infant? Great surprizes, as hath been observed,\nare apt to be silent; and so was Miss Bridget, till her brother began,", "broke the heart of the poor girl. In short, she likewise died within a\ntwelvemonth after my father. Fortune thought proper to provide better\nfor me, and within a month from his decease I was married to a", "Miss Bridget blessed herself, and said, \"For her part, she should\nnever hereafter entertain a good opinion of any woman.\" For Jenny\nbefore this had the happiness of being much in her good graces also.", "Bridget, in a violent fit of illness, and had sat up many nights with\nthat lady; besides which, she had been seen there the very day before", "The captain no sooner perceived the passion of Miss Bridget, in which\ndiscovery he was very quick-sighted, than he faithfully returned it.", "business of her life to oblige him, and would never marry any man\nagainst his consent; which brought the old man so near to his highest\nhappiness, that he was resolved to take the other step, and went to", "The squire having settled matters with his sister, as we have seen in\nthe last chapter, was so greatly impatient to communicate the proposal", "married by actual brutal force.\" \"To be sure, sir,\" said she, \"that's\ntrue. There may be some hopes for you; but alack-a-day! what hopes are", "His brother, therefore, no sooner mentioned the marriage of his nephew\nwith Miss Miller, than he exprest the utmost satisfaction; and when", "Being at length, however, thoroughly satisfied of the truth of her\nobservation, she took an opportunity, one morning, when she was alone\nwith her brother, to interrupt one of his whistles in the following\nmanner:--", "If this part of his character pleased Mr Allworthy, it delighted Miss\nBridget. She engaged him in many religious controversies; on which\noccasions she constantly expressed great satisfaction in the doctor's", "The lady pondered a little upon this, and thus answered--\"Why, no,\nmadam, I think not. Di Western hath described her brother to me to be" ], [ "of me, were all thrown out to prevent any suspicion which Wilkins\nmight hereafter have, when I was to own the child; for she thought it\ncould never be believed she would venture to hurt a young woman with", "uneasy. This Mrs Wilkins, at length, so resented, that she very openly\nshowed all manner of respect and fondness to little Tommy, in\nopposition to Mrs Blifil.", "the child?\" \"Indeed he was not,\" said Mrs Waters. \"You may be pleased\nto remember, sir, I formerly told you, you should one day know; and I", "Hence, perhaps, it was, that the good woman first mentioned the name\nof this poor girl to Mrs Wilkins; but there was another circumstance", "But though he declared no satisfaction to Mrs Wilkins at this\ndiscovery, he enjoyed not a little from it in his own mind, and\nresolved to make the best use of it he was able.", "as to Mrs Wilkins, she had long since given him up, and was perfectly\nreconciled to her mistress. This friend was the gamekeeper, a fellow", "she afterwards suffered in child-birth. It was then contrived that my\nmother and myself only should attend at the time, and that Mrs Wilkins\nshould be sent out of the way, as she accordingly was, to the very", "When Mrs Deborah returned into the room, and was acquainted by her\nmaster with the finding the little infant, her consternation was", "Jones was so pleased with this answer, that he eagerly kissed the\nchild; and soon after Mrs Miller returned, saying, \"She thanked heaven", "The next step was to examine among the inhabitants of the parish; and\nthis was referred to Mrs Wilkins, who was to enquire with all\nimaginable diligence, and to make her report in the afternoon.", "But if such was her expectation, how was she disappointed when Mrs\nWilkins, according to the order she had received from her master,", "from the little foundling, to whom he had been godfather, had given\nhis own name of Thomas, and whom he had hitherto seldom failed of\nvisiting, at least once a day, in his nursery.", "Such was the discernment of Mrs Wilkins, and such the respect she bore\nher master, under whom she enjoyed a most excellent place, that her", "Wilkins, and with apparent merit; for she had collected them herself,\nand perhaps it would be difficult to find such another set of\nscarecrows.", "expected day came, and Mrs Wilkins, who had been kept a week in\nreadiness, and put off from time to time, upon some pretence or other,", "Wilkins, whether she resented the captain's behaviour, or whether his\ncunning was beyond her, and she feared the discovery might displease\nhim, never afterwards opened her lips about the matter.", "Mrs Wilkins having therefore, by accident, gotten a true scent of the\nabove story,--though long after it had happened, failed not to satisfy", "in the lap of Mrs Deborah, the good lady could not forbear giving it a\nhearty kiss, at the same time declaring herself wonderfully pleased\nwith its beauty and innocence. Mrs Deborah no sooner observed this", "acquainted with her name and person as the wench at Upton had appeared\nto be. For while Jones was examining his boy in whispers in an inner", "hated, commended or abused, the same person. And for this reason, as\nthe captain looked with an evil eye on the little foundling, his wife" ], [ "These matters were resolved on, when Mr Blifil came to pay a visit to\nhis mistress. The squire no sooner heard of his arrival, than he stept", "In reality, Blifil had taken some pains to prevail with the parson,\nand to prevent the discovery at that time; for which he had many", "mentioned a great deal about young Madam Western, and George told me\nall; that Mr Blifil is coming to town in order to be married to her.", "country. And to be sure, if I may be so presumptuous as to offer my\npoor opinion, there is young Mr Blifil, who, besides that he is come", "For this purpose they had cast their eyes on that fair widow, whom,\nthough we have not for some time made any mention of her, the reader,\nwe trust, hath not forgot. Mrs Blifil was indeed the object to which\nthey both aspired.", "cruelly.\"----He then explained to him all the treachery of Blifil, and\nagain repeated expressions of the utmost concern, for having been", "Allworthy, though not without reluctance, at last yielded to the\ndesires of his nephew. He said he would accompany him to London, where", "Whether any of these motives operated on the doctor, we will not\ndetermine; but so the fact was. He sent for his brother, and easily\nfound means to introduce him at Allworthy's as a person who intended\nonly a short visit to himself.", "humour only, and to her dissatisfaction at the omission of ceremony in\nthe visit; but Blifil saw a little deeper into things. He suspected\nsomewhat of more consequence, from two or three words which dropt from", "Mr Allworthy had no sooner lifted up his eyes, and thanked Heaven for\nthese hopes of his recovery, than Mr Blifil drew near, with a very", "He omitted nothing which his invention could supply, to raise and\ncomfort the drooping spirits of Blifil, before he communicated to him\nthe resolution of his uncle that he must quit the house that evening.", "Poor Jones spent a very melancholy night; and the more so, as he was\nwithout his usual companion; for Master Blifil was gone abroad on a", "This last and most material objection was now in great measure\nremoved, as the proposal came from Mr Western himself. Blifil,", "reputation of a loose kind of a fellow. Blifil therefore represented\nthis as flying in Mr Allworthy's face; and declared, with great\nconcern, that it was impossible to find any other motive for doing", "immediately to town, with his nephew Blifil, and a desire to be\naccommodated with his usual lodgings, which were the first floor for\nhimself, and the second for his nephew.", "gentleman himself to the door, lest he should see Blifil, who was\nreturned to his chamber, where he exulted in the thoughts of his last", "Thwackum expressed some surprize at these sudden emotions, and asked\nthe reason of them. To which Blifil answered, \"He was certain he had", "From these reasons, therefore, Mr Blifil saw no bar to his success\nwith Sophia. He concluded her behaviour was like that of all other\nyoung ladies on a first visit from a lover, and it had indeed entirely\nanswered his expectations.", "Among others of this kind was Dr Blifil, a gentleman who had the\nmisfortune of losing the advantage of great talents by the obstinacy", "But to return to our history. Though Jones had shown no design of\ngiving offence, yet Mr Blifil was highly offended at a behaviour which" ], [ "Tom was now mounted on the back of a footman, and everything prepared\nfor execution, when Mr Allworthy, entering the room, gave the criminal", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "Tom, though against all form of law, rejoined in affirmance of the\nwords. Upon which Master Blifil said, \"It is no wonder. Those who will", "The gamekeeper, being a suspected person, was now sent for, and the\nquestion put to him; but he, relying on the promise which Tom had made", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Tom answered, he could in duty refuse him nothing; but as for that\ntyrannical rascal, he would never make him any other answer than with\na cudgel, with which he hoped soon to be able to pay him for all his\nbarbarities.", "Tom begged to be excused, for that he had particular business; and\ngetting up from table, escaped the clutches of the squire, who was\nrising to stop him, and went off with very little ceremony.", "Tom was then interrogated who was with him, which Mr Allworthy\ndeclared he was resolved to know, acquainting the culprit with the", "The company, who were sitting in a room next the garden, were\ninstantly alarmed, and came all forth; but just as they reached the\ncanal, Tom (for the water was luckily pretty shallow in that part)\narrived safely on shore.", "This matter then, which put an end to the debate mentioned in the last\nchapter, was no other than a quarrel between Master Blifil and Tom", "At his return home, Tom was presently convened before Mr Allworthy. He\nowned the fact, and alledged no other excuse but what was really true,", "Tom was no sooner informed by the constable whither they were\nproceeding (indeed he pretty well guessed it of himself), than he", "Thwackum fell violently on poor Tom, who stood dropping and shivering\nbefore him, when Mr Allworthy desired him to have patience; and", "means support the consciousness a single moment, he sent for Tom, and\nafter many kind and friendly exhortations, said, \"I am convinced, my", "The officer who commanded this gang very wisely concluded that his\nbusiness was now to deliver his prisoner into the hands of the civil\nmagistrate. He ordered him, therefore, to be carried to a", "Tom bore his punishment with great resolution; and though his master\nasked him, between every stroke, whether he would not confess, he was\ncontented to be flead rather than betray his friend, or break the\npromise he had made.", "On their return home, Tom made use of all his eloquence to display the\nwretchedness of these people, and the penitence of Black George", "Tom promised faithfully to obey her commands; and after thanking her\nfor her kind compliance with his request, took his leave, and departed\nhighly charmed with his success.", "Sophia, who had just began to deal as Tom had mentioned that a man was\nkilled, stopt her hand, and listened with attention (for all stories", "on, but what his goodness hath bestowed on us.\" For, indeed, besides\nthe horse and the Bible, Tom had sacrificed a night-gown, and other\nthings, to the use of this distressed family." ], [ "Allworthy bid him immediately call a servant. Tom answered there was\nno occasion; for he had luckily met them at the gate, and relying upon", "Tom Jones, who, bad as he is, must serve for the heroe of this\nhistory, had only one friend among all the servants of the family; for", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "though he carried the knapsack, and contented himself with staying\namong servants, while Tom Jones (as he called him) was regaling in the", "Tom was now mounted on the back of a footman, and everything prepared\nfor execution, when Mr Allworthy, entering the room, gave the criminal", "Tom answered, he could in duty refuse him nothing; but as for that\ntyrannical rascal, he would never make him any other answer than with\na cudgel, with which he hoped soon to be able to pay him for all his\nbarbarities.", "on, but what his goodness hath bestowed on us.\" For, indeed, besides\nthe horse and the Bible, Tom had sacrificed a night-gown, and other\nthings, to the use of this distressed family.", "\"Is his servant without?\" cries Allworthy; \"pray call him hither. I\nwill ask him some questions concerning his master.\"", "\"In the same house!\" answered Partridge; \"why, sir, he is one of the\nservants of the family, and very well drest I promise you he is; if it\nwas not for his black beard you would hardly know him.\"", "The squire gave him a good curse at his departure; and then turning to\nthe parson, he cried out, \"I smoke it: I smoke it. Tom is certainly", "servants, we may suppose him to be, as we say, _in casu incognito_,\nand perhaps I ought not to have mentioned your name.\"--\"I own,\" says", "\"Oh, sir!\" answered Tom, \"your poor gamekeeper, with all his large\nfamily, ever since your discarding him, have been perishing with all", "again. There is your disciple Tom almost spoiled already. I overheard\nhim the other day disputing with Master Blifil that there was no merit", "servant in the house ever saw the colour of his money. The devil shall\nwait upon such a gentleman for me.\" Much more of the like kind she\nmuttered to herself; but this taste shall suffice to the reader.", "fatal mischief, especially as his servant, who is without, tells me he\nis very far from being well.\"", "I am, sir,\n Your faithful humble servant,\n ROGER THWACKUM.\"", "man. As soon as he was found, Tom threw himself at his feet, and\nhaving begged a patient hearing, confessed himself to be the father of\nthe child of which Molly was then big. He entreated him to have", "\"A favour, madam!\" cries Tom: \"if you knew the pleasure you have given\nme in the hopes of receiving a command from you, you would think by", "Tom had almost recovered his little namesake, when the branch on which\nit was perched, and that hung over a canal, broke, and the poor lad\nplumped over head and ears into the water.", "which he bid her cloath her children. The poor woman burst into tears\nat this goodness, and while she was thanking him, could not refrain\nfrom expressing her gratitude to Tom; who had, she said, long" ], [ "This Jenny Jones was no very comely girl, either in her face or\nperson; but nature had somewhat compensated the want of beauty with\nwhat is generally more esteemed by those ladies whose judgment is", "Jenny Jones, who, they both agreed, was the likeliest person to have\ncommitted this fact.", "acquainted with her name and person as the wench at Upton had appeared\nto be. For while Jones was examining his boy in whispers in an inner", "been some time in London, and Mr Jones, whom the reader hath just\nparted from at Mr Western's, and who received this summons just as\nSophia had left him.", "This news determined the opinion of the wise man, and he resolved to\nmake his court to the young lady when she arose; for he had now (he\nsaid) discovered that she was no other than Madam Jenny Cameron\nherself.", "(Jenny Cameron they call her), that runs about the country with the\nPretender? Nay, the lying, saucy villain had the assurance to tell me", "Jones, with some vehemence. Upon which the lady cried--\"Hush, sir, you\nwill be observed. I promise you, upon my honour, Miss Western is not\nhere.\"", "out of that order of females whose faces are taken as a kind of\nsecurity for their virtue; of which number Jenny Jones, as the reader\nhath been before informed, was one.", "when he reflects on some expressions which have formerly dropt from\nher, may conceive that she herself had a very particular affection for\nMr Jones; but, in reality, it was no such thing. Tom was a handsome", "Jones had just read over these three billets when Mr Nightingale came\ninto the room. \"Well, Tom,\" said he, \"any news from Lady Bellaston,", "the quarrel between Jones and the officer, with the usual regard to\ntruth. She had, indeed, changed the name of Sophia into that of the\nPretender, and had reported, that drinking his health was the cause", "My reader may please to remember he hath been informed that Jenny\nJones had lived some years with a certain schoolmaster, who had, at", "\"Who, who?\" cries Tom; but without waiting for an answer, having\ndiscovered the features of his Molly through all the discomposure in", "Jones. This fellow, being well known to Mrs Honour, stopt and spoke to\nher; of which Sophia at that time took little notice, more than to\nenquire who he was.", "Jones no sooner heard that name, than, immediately quitting his former\ncompanion, he applied to the domino, begging and entreating her to\nshow him the lady she had mentioned, if she was then in the room.", "Mr Jones a secret. She considered herself, therefore, at full liberty\nto reveal all she knew to the squire, which she immediately did in the\nmost explicit terms, and without any ceremony or preface.", "her to London. As she is a woman of very great note, I shall easily\nfind her out, and I make no doubt of being very well and kindly", "\"Oh, madam,\" cries Jones, \"it was enclosed in a pocket-book, in which\nthe young lady's name was written.\"", "Mrs Deborah is introduced into the parish with a simile. A short\naccount of Jenny Jones, with the difficulties and discouragements\nwhich may attend young women in the pursuit of learning.", "been found by Jones, the serjeant proceeded to that part of her\nhistory which was known to him. He said she was the wife of Mr Waters," ], [ "Allworthy. He concluded with saying, \"Now, sir, I have told your\nhonour the whole truth.\" And then repeated a most solemn protestation,", "Allworthy. I question not but he will do you honour in the world, and\nmake you happy.\"--\"I wish I could make him so, madam,\" replied", "of Allworthy. The tears burst from his eyes, and he fell upon his\nknees, crying, \"Oh, sir, you are too good to me. Indeed you are.", "Allworthy received the news with concern, with patience, and with\nresignation. He dropt a tender tear, then composed his countenance,\nand at last cried, \"The Lord's will be done in everything.\"", "Allworthy. He was as good as his word: for he rode immediately to his\nhouse, and complained of the trespass on his manor in as high terms\nand as bitter language as if his house had been broken open, and the", "The letter then which arrived at the end of the preceding chapter was\nfrom Mr Allworthy, and the purport of it was, his intention to come", "matter better, and would, if Mr Allworthy pleased, be himself the\nmessenger. I know,\" says he, \"already enough of your pleasure, sir,", "Allworthy bid him immediately call a servant. Tom answered there was\nno occasion; for he had luckily met them at the gate, and relying upon", "Mr Allworthy now stood silent for some moments, and before he spoke\nthe tears started from his eyes. He at length dismissed Tom with a", "Allworthy's intention to make Jones his heir, than he joined heartily\nwith the uncle in every commendation of the nephew, and became as\neager for her marriage with Jones as he had before been to couple her", "Allworthy, with great chearfulness, told her that he had much good\nnews to communicate; and, with little further preface, acquainted her\nthat he had brought Mr Nightingale to consent to see his son, and did", "One day, then, as Allworthy was walking in his garden, the doctor came\nto him, and, with great gravity of aspect, and all the concern which", "Allworthy.) He at length concluded with again blaming the action as\ninconsiderate, and which, he said, was pardonable only in a child.", "I have told my reader, in the preceding chapter, that Mr Allworthy\ninherited a large fortune; that he had a good heart, and no family.", "made a deeper impression on Allworthy. \"My good child,\" said he, \"I am\nequally astonished at the goodness of your heart, and the quickness of", "Allworthy; for, notwithstanding his disinterested professions, the\ncaptain imagined he would, when he came to act, follow the example of\nthe rest of the world, and refuse his consent to a match so", "When Allworthy returned to his lodgings, he heard Mr Jones was just\narrived before him. He hurried therefore instantly into an empty\nchamber, whither he ordered Mr Jones to be brought to him alone.", "cries Allworthy. \"Nay, it is true, I promise you,\" said Nightingale,\n\"for I have the money now in my own hands, in five bank-bills, which I", "Allworthy said he should be glad to find his nephew there at his\nreturn home; but that he was then obliged to go on some business of\nconsequence. He then called to a servant to fetch him a chair, and\npresently left the two ladies together.", "Mr Allworthy had been engaged to dine with Mr Western at the time when\nhe was taken ill. He was therefore no sooner discharged out of the" ] ]

[ "Who care for the baby?", "Who was married to Bridget?", "Why did Dr Blifil dies of a broken heart?", "How did Captain Blifil died?", "Who get pregnat by Tom?", "Why was Tom arrested?", "Who is Tom's mother?", "What did Allworthy found out about Tom?", "Who married Tom?", "Who is Bridget to Squire Allworthy?", "What did Allworthy find in his bed after returning from London?", "Who did Mrs. Wilkins name as the most likely to have abandoned the baby?", "What did Dr Blifil die from?", "Who was Toms first love?", "Who was Sophia's father?", "Why was Tom expelled from Allworthy's estate?", "Why was Tom arrested in London?", "Who is Tom's real mother?", "How many children does Tom and Sophia have after marrying?", "How many parts are in the story?", "Where was Bridget's brother before he returned to Somerset?", "Who is the mother of the baby found in Mr. Allworthy's bed?", "Which brother did Bridget marry?", "What did Mrs. Wilkins' boss name the baby he found?", "Why did Dr. Blifil move to London?", "Why was Tom arrested?", "What is the name of Tom's servant?", "Which name was Jenny Jones using when Tom met her in London?", "When did Allworthy decide to leave most of his estate to Tom?" ]

[ [ "Mrs Deborah Wilkins", "Mr Allworthy" ], [ "Captain Blifil", "Captain Blifil" ], [ "Dr Blifil died of a broken heart because his brother Captain Blifil was cold towards him.", "His brother is cold to him." ], [ "Captain Blifil died from apoplex.", "apoplexy" ], [ "Molly", "Sophie" ], [ "Tom was arrested because he nearly kill a man in a duel.", "Dueling" ], [ "Bridget", "brifget" ], [ "Tom his Allworthy nephew", "hes a bastard" ], [ "Sophia", "sophia" ], [ "His sister", "His sister" ], [ "An abandoned baby", "An abandoned baby" ], [ "Jenny Jones", "Jenny Jones" ], [ "A broken heart", "a broken heart" ], [ "Molly", "Molly." ], [ "Squire Western", "Squire Western" ], [ "For too many misdemeanors", "His numerous misdemeanors" ], [ "For nearly killing a man during a duel", "For dueling" ], [ "Bridget", "Bridget" ], [ "Two children", "Two" ], [ "18", "18." ], [ "London", "london" ], [ "Bridget", "Jenny Jones" ], [ "Captain Blifil", "The captain" ], [ "Thomas", "thomas" ], [ "he and his brother grew apart", "He feels obligated to leave after his brother's marriage." ], [ "he almost killed someone during a duel", "He almost killed a man while they were dueling" ], [ "Patridge", "Partridge" ], [ "Mrs. Waters", "Mrs. Waters" ], [ "after finding out that Tom was Bridget's son", "After learning of Master Blifil's intrigues" ] ]

[ [ "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "VALIANT\n That was the murderer of Herman Acme,\n Maroon... and my brother.\n\n Dolores looks down at the front of Valiant's shirt. A dark\n stain is appearing.", "BETTY BOOP\n (leans in)\n That's Marvin Acme, the gag king.\n\n VALIANT\n Shoulda guessed.", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "A hearse, and a line of black limos are parked in the lane.\n Nearby, Marvin Acme's funeral is in progress. Clustered", "off. He sees Doom about to reach the gun. He straps on a\n pair of Acme Rocket Skates, fires them up and shoots across", "With his last ounce of strength, Valiant grabs the Acme\n Boxing Glove. He pops it. The glove extends across the\n room, punching the release lever on the dip truck.", "Valiant steps past the curtain, keeping a discreet distance.\n He follows Marvin Acme down a corridor and around the corner.", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "Valiant knocks Jessica to the ground. The bullets pass\n harmlessly overhead going into the window of the Acme Cheese", "DOOM\n Marvin Acme had no will. I should\n know, the probate is in my court.", "BABY HERMAN\n My hunch is it was Maroon. He always\n was after Acme's property.\n\n VALIANT\n Yeah? Does he wear pants this color?", "MAROON\n Frankly, I'm shocked. Marvin Acme's\n been my friend and neighbor for thirty\n years.", "grabs an Acme boxing glove. It accordians out and smashes\n Doom in the face. He goes flying out of the driver's seat,", "BANG! Maroon crumples, caught mid-sentence. Valiant dives\n behind the desk and draws his gun. He looks over at Maroon's\n dead body on the floor.", "ROGER RABBIT\n (reads)\n Hey, it's the will. I, Marvin Acme, of", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "Doom grabs an Acme slingshot, loads an Acme boulder and fires\n it at Valiant. BLAM! It whacks Valiant on the head, laying", "Valiant glances down. The box says, \"Acme Exploding Cigars\".\n He looks to Roger, but it's too late. KABOOM! KABOOM!" ], [ "Roger scurries back to the Packard hidden outside the gates.\n He opens Valiant's black bag and comes out holding Eddie's\n real pistol. Benny comes tenderfooting up.", "tray held by Eddie. Valiant carries him toward the back\n room, but the irrepressable entertainer gets on his knees Al\n Jolson style and blows kisses to his audience. The regulars", "Now Eddie's face comes into view. He motions for her to open\n the window.\n\n\n OUTSIDE THE WINDOW", "it was funny. EDDIE VALIANT takes a jolt from a pint of\n whiskey, evidently in reaction to what he's seen. He opens", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "Before Eddie can reply, she jumps off, and slinks offstage,\n leaving Eddie a pile of human wreckage. Valiant slugs the\n rest of his drink down to put out the fire in his libido.", "EDDIE AND ROGER\n\n Valiant jerks Roger back behind the curtain.\n\n VALIANT\n Get away from that window.", "EARL\n Eddie? Jesus, what happened?\n\n VALIANT\n Toon cops worked me over.", "Eddie grabs Earl around the legs and throws him over his\n shoulder like a sack of potatoes. He carries him over to a\n booth and puts him down carefully, covering him with a\n tablecloth.", "always quick with a laugh, BREAK UP at their boss'\n misfortune. The one guarding Eddie is so overcome with", "VALIANT\n Hey, pal, do I look like a\n stenographer?\n\n LT. SANTINO\n Watch your mouth, Eddie, he's a judge.", "DOLORES\n Well, you used to care, Eddie. And it\n didn t matter if a client's skin was\n black, white, or painted!\n\n Valiant ignores her and walks out the door.", "BLAM! She fires. But Valiant's still standing. We HEAR a\n CRASH behind Eddie as a figure falls into some boxes from a\n fire escape above.", "At the last second, Eddie shouts at the Weasle.\n\n VALIANT\n Hey!\n\n The Weasle turns to him.", "DOLORES\n (chiming in)\n Yeah, Eddie, it's not like you got an\n ad in the Yellow Pages.\n\n VALIANT\n Thanks for the vote of confidence.", "Benny peeks around the corner, then tip-toes into view. down\n the alley until he stops in front of a back door. Eddie and\n Roger climb out.", "Eddie comes in the door with his coat over his shoulder. He\n tosses the jacket over the chair and walks to the Murphy bed.", "VALIANT\n I'll bet.\n\n DOLORES\n Are you gonna call him, Eddie?", "Roger holds out a large stogie.\n\n VALIANT\n Why not?\n\n Roger lights Eddie's and one for himself.", "Eddie and Roger are balanced on the trolley wire above the\n Weasles' heads. As the Weasles sniff around the barn, Eddie\n and Roger ease along the wire, using the wall of the Terminal\n Bar to lean on." ], [ "Santino walks to Acme's glassed office where a sobbing\n Jessica Rabbit is being interrogated. We can only see her,", "ROGER RABBIT\n (continuing)\n After I left you, I went to see her at\n the Ink &amp; Paint Club.\n\n Valiant picks himself up and tries to catch his breath.", "JESSICA RABBIT\n Roger, I want you to know I love you.\n I loved you more than any woman has\n ever loved a rabbit.", "There is RAUCOUS APPLAUSE when she finishes. Jessica looks\n deep into Eddie's eyes.\n\n JESSICA RABBIT\n (continuing)\n Thanks for your lap.", "left at the gravesite. Sitting in a chair dabbing at her\n eyes with a handkerchief is Jessica Rabbit. Maroon walks up\n behind her.", "MAROON\n You don't have to. The rabbit's wife\n sings at an underground Toon revue\n joint called The Ink &amp; Paint Club. You\n can catch her in action there.", "JESSICA RABBIT\n (continuing)\n 'You ain't got no money\n Ain't got no use for you...'", "BETTY BOOP\n He comes here every night to see\n Jessica Rabbit.\n\n VALIANT\n Big on the musical comedy, huh?", "JESSICA RABBIT\n (continuing)\n 'So get out of here...\n And get me the money toooo!'", "JESSICA RABBIT\n (singing)\n 'Why don't you do right.\n Like some other men do...'", "Jessica straightens her dress.\n\n JESSICA RABBIT\n Perhaps I should go.\n\n DOLORES\n Must you?", "Jessica takes a cigarette out of her purse. She lights it\n and blows a cloud of Toon smoke. It forms a recreation of\n what she describes.", "Jessica takes the mike and comes off the stage. Slinkily.\n she wanders among the tables, teasing the men as she goes.", "The comely silhouette of Jessica Rabbit runs to her car,\n jumps in and ROARS out the the studio gates.\n\n\n VALIANT", "JESSICA RABBIT\n Oh, Mr, Valiant, please... you're my\n only hope.\n\n She comes to Eddie and hugs him, burying her head in his\n shoulder.", "JESSICA RABBIT\n (continuing)\n I hope you're proud of yourself.", "JESSICA RABBIT\n (sings)\n 'You had plenty of money back\n in '22", "ROGER RABBIT\n (delirious)\n Look, stars! Ready when you are,\n Raoul.\n\n Valiant shakes his head, but Jessica starts to laugh.", "JESSICA RABBIT\n I think I got him.\n\n Jessica runs past Valiant to the figure. He follows,\n bewildered.", "INT. BACK ROOM\n\n Roger turns to Eddie victoriously.\n\n ROGER RABBIT\n My pal.\n\n\n IN THE BAR" ], [ "VALIANT\n That was the murderer of Herman Acme,\n Maroon... and my brother.\n\n Dolores looks down at the front of Valiant's shirt. A dark\n stain is appearing.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "BABY HERMAN\n My hunch is it was Maroon. He always\n was after Acme's property.\n\n VALIANT\n Yeah? Does he wear pants this color?", "BETTY BOOP\n (leans in)\n That's Marvin Acme, the gag king.\n\n VALIANT\n Shoulda guessed.", "MAROON\n Frankly, I'm shocked. Marvin Acme's\n been my friend and neighbor for thirty\n years.", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "underneath: \"Marvin Acme Murdered at the Hands of Jealous\n Rabbit\". Santino throws the paper on the sofa.", "ROGER RABBIT\n (reads)\n Hey, it's the will. I, Marvin Acme, of", "DOLORES\n Can you get him out of it, Eddie?\n\n VALIANT\n If I can find whoever wanted to kill\n Acme bad enough to get this.", "A hearse, and a line of black limos are parked in the lane.\n Nearby, Marvin Acme's funeral is in progress. Clustered", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "Valiant steps past the curtain, keeping a discreet distance.\n He follows Marvin Acme down a corridor and around the corner.", "MAROON\n No, you gotta understand, Valiant, I\n had nothin' to do with Acme gettin'", "DOOM\n Roger Rabbit is charged with the cold\n blooded murder of a human... Marvin\n Acme. The jury will direct their\n attention to exhibits A, B, and C.", "Santino walks to Acme's glassed office where a sobbing\n Jessica Rabbit is being interrogated. We can only see her,", "Valiant glances down. The box says, \"Acme Exploding Cigars\".\n He looks to Roger, but it's too late. KABOOM! KABOOM!", "BANG! Maroon crumples, caught mid-sentence. Valiant dives\n behind the desk and draws his gun. He looks over at Maroon's\n dead body on the floor.", "come racing down the street.\n\n JESSICA RABBIT\n It was Doom who killed Acme, you know?", "Valiant throws the pattycake picture down on the table.\n Dolores and Roger both examine it closely.\n\n DOLORES\n Acme's will.", "Valiant knocks Jessica to the ground. The bullets pass\n harmlessly overhead going into the window of the Acme Cheese" ], [ "been murdered by a Toon. Don't you\n appreciate the magnitude of that? My\n goal as Judge of Toontown, has been to", "belongs to Judge Doom. Doom smiles sadistically as the\n Roadster with Eddie and Jessica aboard comes shooting out of\n the tunnel. When Benny hits the liquid, he starts to skid.", "ROGER RABBIT\n Yes, justice, Judge Doom. The real\n meaning of the word probably hits you\n like a ton of bricks!", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "Then his prosthetic eyeballs pop out. His teeth shatter and\n fall out of his mouth like china. Underneath his latex mask\n we can see his Toon mouth and evil red Toon eyes.", "DOOM\n You've defiled a symbol of justice.\n\n As Doom carries the Gopher to the \"Toontown Control\" wagon,\n Valiant shoots a look to Santino.", "A ten gallon drum is sitting by the side of the road under\n the Toontown sign. From in the tunnel we hear the SOUND of", "DOOM\n Roger Rabbit is charged with the cold\n blooded murder of a human... Marvin\n Acme. The jury will direct their\n attention to exhibits A, B, and C.", "come racing down the street.\n\n JESSICA RABBIT\n It was Doom who killed Acme, you know?", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "He gets into his car, he pauses and looks back at Valiant.\n\n DOOM\n (continuing)\n After all, didn't a Toon kill your\n brother?", "As his vision comes INTO FOCUS, Valiant sees the Gorilla,\n Jessica Rabbit, the Weasles and Judge Doom are standing over\n him.", "Doom hands Valiant's gun to the head Weasle.\n\n DOOM\n (continuing)\n Let him watch his Toon friends get\n dipped... then shoot him.", "DOLORES\n Toon killed his brother.\n\n\n EXT. INK &amp; PAINT CLUB - NIGHT", "As the Judge pulls on a black rubber glove, the Weasles take\n out a stainless steel tub WHEEZING with sadistic glee. They\n fill it from a spigot on the truck.", "slams on his brakes. The Packard goes fishtailing, finally\n spinning to a stop at the foot of the \"Toontown\" sign.", "GOPHER\n (petrified)\n Judge Doom! Here, let me get that for\n ya.", "Now Weasles are coming at them from every direction. Valiant\n aims the Toon .38 at a Toon tank rolling their way. But when\n he pulls the trigger, the gun just CLICKS. Empty.", "of Toontown, we took his case. But\n when we looked into it, we found out he\n did do it after all. We went to his", "hole in the wall and comes out holding a bunch of Toon\n bananas. WHEEZING wickedly, he passes them out to his" ], [ "ROGER RABBIT\n (delirious)\n Look, stars! Ready when you are,\n Raoul.\n\n Valiant shakes his head, but Jessica starts to laugh.", "DOLORES\n Jesus, Eddie, is this who I think it\n is?\n\n VALIANT\n Dolores, meet Roger Rabbit.", "JESSICA RABBIT\n Roger, I want you to know I love you.\n I loved you more than any woman has\n ever loved a rabbit.", "VALIANT\n (screams)\n Aah!\n\n ROGER RABBIT\n (screams)\n Aah!", "ROGER RABBIT\n (continuing)\n After I left you, I went to see her at\n the Ink &amp; Paint Club.\n\n Valiant picks himself up and tries to catch his breath.", "ROGER RABBIT\n Don't shoot, Eddie. It's me.\n\n Valiant lowers the gun as Roger emerges.", "ROGER RABBIT\n (continuing)\n Sure I wanted to win Jessy back, but\n not that way.\n\n Valiant lunges again. Roger dodges.", "ROGER RABBIT\n (continuing)\n 'Dear Jessy. How do I love thee? Let", "ROGER RABBIT\n Hi, Roger Rabbit. Love your work.\n\n INTERCUT TO:\n\n\n EDDIE AND JESSICA", "ROGER RABBIT\n You guys think this is real funny,\n doncha?\n (to Valiant)\n Eddie, do somethin'!", "ROGER RABBIT\n But Jessy... she's the light of my\n life, the apple of my eye, the cream in\n my coffee...", "Roger sits up.\n\n ROGER RABBIT\n Huh?", "INT. BACK ROOM\n\n Roger turns to Eddie victoriously.\n\n ROGER RABBIT\n My pal.\n\n\n IN THE BAR", "ROGER RABBIT\n (continuing)\n She was on stage, so I found a piece of\n paper and wrote her a love letter.", "ROGER RABBIT\n (continuing)\n 'Things turned out fine\n And now she's mine...'", "ROGER RABBIT\n I resent that innuendo! My wife is\n completely innocent.", "ROGER RABBIT\n Please, Raoul. I can give you stars,\n I know I can. Just drop the safe on my\n head one more time.", "ROGER RABBIT\n Say, who's this guy laughin'?\n\n VALIANT\n Me.", "ROGER RABBIT\n Cucamonga? I don't know anybody in\n Cucamonga.\n\n\n EXT. MAROON STUDIO - NIGHT", "ROGER RABBIT\n (continuing)\n You think you could get away with this?\n Hah! We Toons may be idiotic, but\n we're not stupid!" ], [ "ROGER RABBIT\n (reads)\n Hey, it's the will. I, Marvin Acme, of", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "VALIANT\n Look, doll, if I wanted underwear, I\n woulda broken into Frederick's of\n Hollywood. I was lookin' for Marvin\n Acme's will.", "BABY HERMAN\n And another thing, the paper said no\n will was found. But every Toon knows\n Acme had a will and, in it he promised\n to leave Toontown to the Toons.", "DOOM\n Marvin Acme had no will. I should\n know, the probate is in my court.", "Valiant steps past the curtain, keeping a discreet distance.\n He follows Marvin Acme down a corridor and around the corner.", "Valiant throws the pattycake picture down on the table.\n Dolores and Roger both examine it closely.\n\n DOLORES\n Acme's will.", "VALIANT\n He had a will, all right. She took it\n off Acme the night she and R.K. Maroon\n knocked him off. Then she set up her\n loving husband to take the fall.", "BETTY BOOP\n (leans in)\n That's Marvin Acme, the gag king.\n\n VALIANT\n Shoulda guessed.", "BABY HERMAN\n My hunch is it was Maroon. He always\n was after Acme's property.\n\n VALIANT\n Yeah? Does he wear pants this color?", "MAROON\n Frankly, I'm shocked. Marvin Acme's\n been my friend and neighbor for thirty\n years.", "VALIANT\n Well, Acme had the will in his pocket\n that night at the club. It was gone in\n the morning when the cops found the\n body.", "ROGER RABBIT\n Well, Mr. Smarty-Pants Detective, your\n logic is specious. What prevented Mr.\n Acme from putting the will back in the\n safe before they killed him?", "JESSICA RABBIT\n Marvin told me. Doom was after his\n land. Ne was afraid. That's why he\n brought me his will.", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "MAROON\n No, you gotta understand, Valiant, I\n had nothin' to do with Acme gettin'", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "Acme stops and knocks on a dressing room door. After a\n moment, it opens and Acme goes inside. Valiant checks over", "With his last ounce of strength, Valiant grabs the Acme\n Boxing Glove. He pops it. The glove extends across the\n room, punching the release lever on the dip truck." ], [ "ROGER RABBIT\n (reads)\n Hey, it's the will. I, Marvin Acme, of", "DOOM\n Marvin Acme had no will. I should\n know, the probate is in my court.", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "BABY HERMAN\n And another thing, the paper said no\n will was found. But every Toon knows\n Acme had a will and, in it he promised\n to leave Toontown to the Toons.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "VALIANT\n Look, doll, if I wanted underwear, I\n woulda broken into Frederick's of\n Hollywood. I was lookin' for Marvin\n Acme's will.", "JESSICA RABBIT\n Problem is without Marvin's will, the\n land still goes to Cloverleaf.", "Valiant throws the pattycake picture down on the table.\n Dolores and Roger both examine it closely.\n\n DOLORES\n Acme's will.", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "VALIANT\n He had a will, all right. She took it\n off Acme the night she and R.K. Maroon\n knocked him off. Then she set up her\n loving husband to take the fall.", "A hearse, and a line of black limos are parked in the lane.\n Nearby, Marvin Acme's funeral is in progress. Clustered", "MAROON\n Frankly, I'm shocked. Marvin Acme's\n been my friend and neighbor for thirty\n years.", "VALIANT\n Maybe Baby Herman was right. Somebody\n wants Acme's property. Cack the old\n man, pin it on Roger, and destroy the\n will.", "Valiant steps past the curtain, keeping a discreet distance.\n He follows Marvin Acme down a corridor and around the corner.", "BABY HERMAN\n My hunch is it was Maroon. He always\n was after Acme's property.\n\n VALIANT\n Yeah? Does he wear pants this color?", "JESSICA RABBIT\n Marvin told me. Doom was after his\n land. Ne was afraid. That's why he\n brought me his will.", "if describing the position of Acme's will.", "ROGER RABBIT\n Well, Mr. Smarty-Pants Detective, your\n logic is specious. What prevented Mr.\n Acme from putting the will back in the\n safe before they killed him?", "BETTY BOOP\n (leans in)\n That's Marvin Acme, the gag king.\n\n VALIANT\n Shoulda guessed.", "Behind the dressing table, the corner of a piece of blue\n paper peeks out. Valiant stoops down and fishes it out.\n It's a cover for a legal document -- \"Last Will and Testament\n -- Marvin Acme\"." ], [ "DOOM\n (continuing)\n Now Eddie's gonna be deady, just like\n Teddy.", "DOOM\n (continuing)\n By the way, when I killed your brother,\n Teddy, I used to talk just like this.", "EARL\n Eddie? Jesus, what happened?\n\n VALIANT\n Toon cops worked me over.", "Roger scurries back to the Packard hidden outside the gates.\n He opens Valiant's black bag and comes out holding Eddie's\n real pistol. Benny comes tenderfooting up.", "Eddie grabs Earl around the legs and throws him over his\n shoulder like a sack of potatoes. He carries him over to a\n booth and puts him down carefully, covering him with a\n tablecloth.", "Dolores, Lt. Santino, and several other COPS rush in, guns\n drawn. Dolores runs to Eddie and puts her arms around him.\n Santino looks down at the remains on the floor.", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "VALIANT\n That was the murderer of Herman Acme,\n Maroon... and my brother.\n\n Dolores looks down at the front of Valiant's shirt. A dark\n stain is appearing.", "BLAM! She fires. But Valiant's still standing. We HEAR a\n CRASH behind Eddie as a figure falls into some boxes from a\n fire escape above.", "Before Eddie can reply, she jumps off, and slinks offstage,\n leaving Eddie a pile of human wreckage. Valiant slugs the\n rest of his drink down to put out the fire in his libido.", "Now Eddie's face comes into view. He motions for her to open\n the window.\n\n\n OUTSIDE THE WINDOW", "Benny peeks around the corner, then tip-toes into view. down\n the alley until he stops in front of a back door. Eddie and\n Roger climb out.", "Just as Valiant is about to turn off the dip cannon, Doom\n lands on the truck. He knocks Eddie off the turret with a\n flying tackle. They both hit the floor.", "DOLORES\n Can you get him out of it, Eddie?\n\n VALIANT\n If I can find whoever wanted to kill\n Acme bad enough to get this.", "EDDIE AND ROGER\n\n Valiant jerks Roger back behind the curtain.\n\n VALIANT\n Get away from that window.", "Dolores and out the door. Dolores walks to Eddie and peels\n the kiss off his cheek. She crumples it up and throws it\n down in the wastebasket.", "always quick with a laugh, BREAK UP at their boss'\n misfortune. The one guarding Eddie is so overcome with", "tray held by Eddie. Valiant carries him toward the back\n room, but the irrepressable entertainer gets on his knees Al\n Jolson style and blows kisses to his audience. The regulars", "He gets into his car, he pauses and looks back at Valiant.\n\n DOOM\n (continuing)\n After all, didn't a Toon kill your\n brother?", "as Benny comes over the last rise, we see the road deadends\n at Echo Park Lake. The police have blocked off the\n perpendicular streets with squad cars. Eddie and Roger see" ], [ "DOOM\n Oh, not <U>that</U> downtown. <U>Toon</U>town.\n\n The mention of Toontown has a visible impact on Valiant.", "Through the windshield we see we have arrived in Toontown,\n where it's a beautiful sunny day. Eddie is now driving down", "Now he drives past a Toon building under construction. Like\n everything else in Toontown. the construction company sports", "been murdered by a Toon. Don't you\n appreciate the magnitude of that? My\n goal as Judge of Toontown, has been to", "of Toontown, we took his case. But\n when we looked into it, we found out he\n did do it after all. We went to his", "the Toontown side. He's holding his blackened rear end...\n apparently the result of a run-in with a stick of dynamite.", "at the tunnel mouth. He looks up at the Toontown sign and\n suddenly smashes it with his fist. It spins around like a\n weathervane.", "DOOM\n Never mind where I come from. Just\n watch where I'm going.\n\n VALIANT\n Don't you think anyone's gonna notice\n that Toontown's gone?", "LT. SANTINO\n No one knows. He bought the election\n a few years back. He's been rulin'\n Toontown ever since.", "entrance to an eerie tunnel. A sign next to the tunnel says:\n \"Toontown\".", "TOONTOWN", "LT. SANTINO\n Now what?\n\n VALIANT\n Just haven't been this close to\n Toontown for awhile.", "A ten gallon drum is sitting by the side of the road under\n the Toontown sign. From in the tunnel we hear the SOUND of", "DOOM\n You've defiled a symbol of justice.\n\n As Doom carries the Gopher to the \"Toontown Control\" wagon,\n Valiant shoots a look to Santino.", "see, Roger steers right off the road. The car hurtles\n through space. As it starts to fall, we see it's Toon", "TROLLEYMAN\n Took you right to Toontown, it did.\n\n VALIANT\n I know, I know... poor S.O.B.", "slams on his brakes. The Packard goes fishtailing, finally\n spinning to a stop at the foot of the \"Toontown\" sign.", "dogcatcher's wagon with \"Toontown Control\" on the side,\n cleaning their fingernails with switchblades and polishing\n Toon revolvers.", "ROGER RABBIT\n (continuing)\n ... who have given me and the rest of\n humanity so much mirth and merriment...\n the Toons.", "ROGER RABBIT\n A Toon? Noooo.\n\n VALIANT\n Yeah, a Toon. It was the guy who\n killed Bambi's mother." ], [ "Before Eddie can reply, she jumps off, and slinks offstage,\n leaving Eddie a pile of human wreckage. Valiant slugs the\n rest of his drink down to put out the fire in his libido.", "Their cigars blow up in classic Toon tradition, blackening\n both their faces. Roger starts laughing. Eddie stares at\n Roger for a moment, then he starts laughing too. They throw", "Suddenly, Eddie breaks into the \"Looney Tooney Song\". The\n song Roger had sung in the bar. The silly voice that comes\n out of his mouth surprises everybody, especially Roger.", "EARL\n Eddie? Jesus, what happened?\n\n VALIANT\n Toon cops worked me over.", "INT. BACK ROOM\n\n Roger turns to Eddie victoriously.\n\n ROGER RABBIT\n My pal.\n\n\n IN THE BAR", "always quick with a laugh, BREAK UP at their boss'\n misfortune. The one guarding Eddie is so overcome with", "it was funny. EDDIE VALIANT takes a jolt from a pint of\n whiskey, evidently in reaction to what he's seen. He opens", "Eddie and Roger, handcuffed together, are beating it down the\n alley. Roger, being a rabbit, is beating it a lot faster.", "tray held by Eddie. Valiant carries him toward the back\n room, but the irrepressable entertainer gets on his knees Al\n Jolson style and blows kisses to his audience. The regulars", "Through the windshield we see we have arrived in Toontown,\n where it's a beautiful sunny day. Eddie is now driving down", "can no longer hold Eddie up. They both descend as Voltaire\n shrinks to the size of a chick.", "like arteriosclerosis. There is mad HONKING in this cartoon\n traffic jam. Eddie shakes his head. He pulls over, parks\n and gets out.", "Eddie takes a bite out of the Toon dynamite and acts like\n he's savoring it. The spectacle of this human doing this is", "Dolores and out the door. Dolores walks to Eddie and peels\n the kiss off his cheek. She crumples it up and throws it\n down in the wastebasket.", "Eddie looks to his left and sees a huge Aphrodite-like hood\n ornament on the front of a TOON CAR. Then as the car starts", "DOLORES\n Toon killed his brother.\n\n\n EXT. INK &amp; PAINT CLUB - NIGHT", "Eddie goes to start the vehicle but the key is gone. Now\n from behind them comes a DEEP RUMBLING VOICE somewhere\n between Lord Buckley and Barry White.", "He offers his foot to a Weasle who shakes it. The others\n HOWL. Eddie flips upright and grabs a stick of Acme\n dynamite.", "DOLORES\n Well, you used to care, Eddie. And it\n didn t matter if a client's skin was\n black, white, or painted!\n\n Valiant ignores her and walks out the door.", "Jessica blows Eddie a TOON KISS which flies across the room,\n landing on Eddie's cheek. She saunters past the smoldering" ], [ "VALIANT\n So's the job.\n\n Valiant starts to walk away.\n\n MAROON\n All right, all right... You got your\n hundred bucks.", "Roger scurries back to the Packard hidden outside the gates.\n He opens Valiant's black bag and comes out holding Eddie's\n real pistol. Benny comes tenderfooting up.", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "Valiant stands to face the Judge, who towers over him.\n\n VALIANT\n He's not my client. I was workin' for\n R.K. Maroon.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "Augie shrugs his shoulders. Disappointed, Valiant lights a\n cigarette. Now Augie elbows him and gestures across at\n Maroon, who's making another call. Augie starts writing\n again.", "VALIANT\n Hi, Mr. Maroon. Remember me?\n\n MAROON\n Valiant? What're you doin' here?", "MAROON\n The pictures don't lie. Mr. Valiant\n here took them himself.\n\n Roger takes another look at the pictures.\n\n\n CLOSE - PHOTOS", "MAROON\n (continuing)\n How much do you know about show\n business, Valiant?\n\n VALIANT\n Only there's no business like it, no\n business I know.", "Maroon is seated behind his desk. Standing nearby is\n Valiant. They are both regarding a hysterical Roger Rabbit,", "AUGIE'S POV\n\n We see Maroon talk on the phone MOS. As his lips move,\n Valiant supplies his words.", "VALIANT\n Your wife may be a lot of things, pal,\n but innocent isn't one of them.\n\n DOLORES\n So what's the scam, Eddie?", "DOLORES\n Jesus, Eddie, is this who I think it\n is?\n\n VALIANT\n Dolores, meet Roger Rabbit.", "VALIANT\n Stop what?\n\n CLICK. Maroon has hung up. Valiant hangs up the phone and\n goes to a wall safe. He spins the combination.", "VALIANT\n The job's gonna cost you a hundred\n bucks.\n\n MAROON\n A hundred bucks? That's ridiculous.", "EARL\n Eddie? Jesus, what happened?\n\n VALIANT\n Toon cops worked me over.", "Roger holds out a large stogie.\n\n VALIANT\n Why not?\n\n Roger lights Eddie's and one for himself.", "Maroon hangs up the phone and comes out of the phone booth.\n He hustles out of the room. Valiant stands.", "it was funny. EDDIE VALIANT takes a jolt from a pint of\n whiskey, evidently in reaction to what he's seen. He opens", "MAROON\n No... I'm not. I'm a cartoon maker,\n not a murderer.\n\n VALIANT\n Well, everybody needs a hobby." ], [ "Jessica is seated at her dressing table. Acme is on his\n knees next to her, kissing his way up her gloved hand, eyes", "Acme stops and knocks on a dressing room door. After a\n moment, it opens and Acme goes inside. Valiant checks over", "Santino walks to Acme's glassed office where a sobbing\n Jessica Rabbit is being interrogated. We can only see her,", "The Weasles display photographs of Jessica and Acme playing\n pattycake, a blow-up of his fingerprints spelling", "No one. He shrugs and starts to search the room. He goes to\n Jessica's dressing table and rifles the drawers. In her", "alley toward the rear of the building. We FOLLOW him around\n the corner where he stops under Jessica's dressing room\n window. He drags over a milk crate to stand on, takes a", "Valiant knocks Jessica to the ground. The bullets pass\n harmlessly overhead going into the window of the Acme Cheese", "Now Jessica works her way over to Eddie. She stops at his\n table and sings tauntingly. Then with a flourish, she throws\n herself in his lap, and belts out the finale.", "Jessica takes the mike and comes off the stage. Slinkily.\n she wanders among the tables, teasing the men as she goes.", "The shot glass is resting on one of the reject pictures of\n Acme and Jessica. The bottom of the glass is magnifying the", "Jessica straightens her dress.\n\n JESSICA RABBIT\n Perhaps I should go.\n\n DOLORES\n Must you?", "Jessica moves the box aside and tugs on the rabbit ears. The\n rabbit head pops off. Underneath is a Weasle. In his hand\n is the Colt .45 Buntline.", "laciviously, he turns to the task. He starts to move his\n hands over her body when Jessica stomps her heel on his feet.", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "closed in ecstasy. Jessica takes her hand out of the glove\n and starts combing her hair, leaving Marvin kissing a\n suspended Toon glove.", "Valiant watches Acme disappear backstage. He stands, drops\n a couple bucks on the table, and follows after him.", "VALIANT'S POV - JESSICA RABBIT\n\n is leaning up against the doorjamb, dressed as usual, in a\n black cocktail dress with elbow length gloves and pearls.", "Jessica blows Eddie a TOON KISS which flies across the room,\n landing on Eddie's cheek. She saunters past the smoldering", "Jessica takes a cigarette out of her purse. She lights it\n and blows a cloud of Toon smoke. It forms a recreation of\n what she describes.", "Valiant turns to the voice. WHAP! Jessica slaps him hard\n enough across the face to make his head turn." ], [ "VALIANT\n That was the murderer of Herman Acme,\n Maroon... and my brother.\n\n Dolores looks down at the front of Valiant's shirt. A dark\n stain is appearing.", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "Valiant's apartment in a matter of seconds. When the\n shooting stops and the smoke clears, the Weasles look around.\n The head Weasle spots blood all over the kitchen floor.", "Valiant ignores the slings and arrows and surveys the scene\n of the crime. The door of the safe is ajar. Valiant tries\n to look inside. Forensic #2 closes the door with his knee.", "Earl breaks the news to Valiant soberly.\n\n EARL\n You're a pig... a happy-go-lucky pig.\n\n VALIANT\n No...", "Suddenly the Weasle grabs the pillow from under Valiant's\n head and carves it to shreds with a switchblade. Feathers\n fly. But no rabbit fur.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "KID\n Can I, Mom?\n\n MOMMY\n Go ahead, darling. Take your bat.\n\n The Kid takes his baseball bat and approaches Valiant\n innocently.", "VALIANT\n He had a will, all right. She took it\n off Acme the night she and R.K. Maroon\n knocked him off. Then she set up her\n loving husband to take the fall.", "DOOM\n (continuing)\n Now Eddie's gonna be deady, just like\n Teddy.", "VALIANT\n Well, Acme had the will in his pocket\n that night at the club. It was gone in\n the morning when the cops found the\n body.", "EARL\n Eddie? Jesus, what happened?\n\n VALIANT\n Toon cops worked me over.", "DOLORES\n Can you get him out of it, Eddie?\n\n VALIANT\n If I can find whoever wanted to kill\n Acme bad enough to get this.", "Roger scurries back to the Packard hidden outside the gates.\n He opens Valiant's black bag and comes out holding Eddie's\n real pistol. Benny comes tenderfooting up.", "BLAM! She fires. But Valiant's still standing. We HEAR a\n CRASH behind Eddie as a figure falls into some boxes from a\n fire escape above.", "Valiant saws a couple more strokes before the realization of\n what Roger's done hits him. His face darkens. Roger sees\n the look and sheepishly tries to recover by sticking his hand\n back in the cuff.", "VALIANT\n Your wife may be a lot of things, pal,\n but innocent isn't one of them.\n\n DOLORES\n So what's the scam, Eddie?", "Valiant gives up trying to open the door and grabs Roger. He\n pulls and he pulls. Finally Roger snaps off like a broken", "VALIANT\n ... I'd head for Cucamonga.\n\n Valiant closes the door, leaving Roger alone. Roger paces\n back and forth manically.", "A Red Car pulls up. Valiant climbs off. He calmly crosses\n the street and ducks behind the cemetery entranceway as\n Maroon's Packard ROARS through." ], [ "His tires smoke, then disappear. It's a dip slick. Without\n tires, Benny spins out of control, finally ending up in the\n bushes roadside.", "DOOM\n (continuing)\n For this heinous crime, I sentence you\n to the dip!", "Doom slams the briefcase shut. Now two Weasles wheel the\n stainless steel tub filled with dip into the bar. Another\n hands Doom his black rubber gloves.", "THE DIPMOBILE\n\n continues forward inexorably. The arm is swinging towards\n Roger and Jessica. It gets closer and closer...", "Valiant gets to the controls of the power winch. He hoists\n Roger and Jessica up out of the way. The Dipmobile passes\n harmlessly underneath them and SMASHES through the brick\n wall.", "He makes it down into the drainage ditch, dipping his\n tootsies one by one. There's a HISS as they hit the water\n and the chemicals from the dip are extinguished.", "DOOM\n (continuing)\n I hereby sentence you to the dip!", "puddle of dip. There's a reddish slick floating on top.\n Valiant wanders over and joins them.", "CLOSE - VALVE\n\n A flood of dip gushes out of the valve and rolls toward Doom\n like a wave.\n\n\n DOOM", "Valiant breathes a sigh of relief. He starts for the dip\n truck as the cannon swings back toward Roger and Jessica.\n But neither of them are watching the cannon. Their eyes are\n fixed on the ground behind the steamroller.", "He's kicking up dust, his legs are blur. Valiant stumbles\n trying to keep up. When they round the corner, Roger slams", "Transylvania, Walla Walla, South Pole (the finger points down\n of course), and finally a finger which says: The Dame.\n Eddie follows the finger down the side street to a high rise", "As the Weasles regroup, Valiant tips the stainless steel tub\n over sending the dip spilling toward them. The Weasles\n recoil from the liquid. Even Doom takes a step backward.", "GOPHER\n Oh no, not the dip! Anything but the\n dip! I'm too young to die...", "The Weasles scramble to positions on the Dipmobile. One\n FIRES UP the ENGINE.\n\n The streetcleaner brushes start to turn. The vehicle starts\n to creep forward.", "When the trollies clear, Benny staggers out from between them\n still on tip-toes. Benny plops down, squashes, then pops up\n to his old self again.", "Valiant reaches the turret just in time to swing the cannon\n around. The spray of dip blasts one of Voltaire's wings off.", "butterflies, chipmunks and flowers watch curiously as the dip\n truck rolls past. Suddenly it's lifted off the ground. We", "Finally, the Gopher breaks free and makes a desperate dash\n for the wall. Doom watches him run and calmly turns to where", "and raise Roger and Jessica until they're suspended fifteen\n feet above the floor... right in the path of the Dipmobile." ], [ "VALIANT\n That was the murderer of Herman Acme,\n Maroon... and my brother.\n\n Dolores looks down at the front of Valiant's shirt. A dark\n stain is appearing.", "MAROON\n So... trying to pull a fast one on me,\n huh?\n\n Jessica turns, startled. She stands and faces Maroon.\n\n\n VALIANT", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "The Weasles display photographs of Jessica and Acme playing\n pattycake, a blow-up of his fingerprints spelling", "Santino walks to Acme's glassed office where a sobbing\n Jessica Rabbit is being interrogated. We can only see her,", "Jessica is seated at her dressing table. Acme is on his\n knees next to her, kissing his way up her gloved hand, eyes", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "MAROON\n No, you gotta understand, Valiant, I\n had nothin' to do with Acme gettin'", "Maroon gestures out the window. We see a blinking neon sign\n on the roof of the building across the street -- \"Acme - If\n It's Acme - It's A Gasser!\"", "come racing down the street.\n\n JESSICA RABBIT\n It was Doom who killed Acme, you know?", "BABY HERMAN\n My hunch is it was Maroon. He always\n was after Acme's property.\n\n VALIANT\n Yeah? Does he wear pants this color?", "Valiant knocks Jessica to the ground. The bullets pass\n harmlessly overhead going into the window of the Acme Cheese", "No one. He shrugs and starts to search the room. He goes to\n Jessica's dressing table and rifles the drawers. In her", "Valiant tries to flag him down as he watches Maroon and\n Jessica having an arguement. There's accusatory finger\n pointing. In pantomime, Maroon gestures into his pocket as", "frantically for the Gardener to cut the machine. But the\n Gardener misconstrues it as a friendly greeting and waves\n back. Valiant turns in time to see Jessica kick Maroon in", "left at the gravesite. Sitting in a chair dabbing at her\n eyes with a handkerchief is Jessica Rabbit. Maroon walks up\n behind her.", "MAROON\n Frankly, I'm shocked. Marvin Acme's\n been my friend and neighbor for thirty\n years.", "ROGER RABBIT\n (continuing;\n reads)\n Dear Jessy... How do I love thee? Let\n me count the... I, Marvin Acme, of\n sound mind and body... Hey?", "VALIANT\n He had a will, all right. She took it\n off Acme the night she and R.K. Maroon\n knocked him off. Then she set up her\n loving husband to take the fall.", "underneath: \"Marvin Acme Murdered at the Hands of Jealous\n Rabbit\". Santino throws the paper on the sofa." ], [ "Doom gets up, leaving Eddie stunned. He sprints to where the\n Weasle had dropped Eddie's pistol. Finally Eddie shakes it", "He offers his foot to a Weasle who shakes it. The others\n HOWL. Eddie flips upright and grabs a stick of Acme\n dynamite.", "Before Eddie and Jessica can make a move, they are surrounded\n by a horde of Weasles pointing what looks like a hundred guns\n at them.\n\n DOOM\n Are you two all right?", "Doom steps up into their faces. Behind him, several Weasles\n are fashioning a noose.", "The Weasle bloodhounds through the bar with Doom striding\n after him. We FOLLOW them to the door to the back room.\n Doom rips the door open.", "Doom slams the briefcase shut. Now two Weasles wheel the\n stainless steel tub filled with dip into the bar. Another\n hands Doom his black rubber gloves.", "Doom picks the gun up. The Weasles drag Roger out from under\n the bricks. Big bright stars are circling his head.", "Eddie and Roger are balanced on the trolley wire above the\n Weasles' heads. As the Weasles sniff around the barn, Eddie\n and Roger ease along the wire, using the wall of the Terminal\n Bar to lean on.", "The Weasle turns at the last second, sticking the barrel up\n against Valiant's nose. Doom gets to his feet. He glowers", "At the last second, Eddie shouts at the Weasle.\n\n VALIANT\n Hey!\n\n The Weasle turns to him.", "Doom stares down the regulars until the laughter stops.\n Meanwhile, a Weasle has started sniffing around the bar where", "Doom opens one of the Roadster's doors and helps Jessica out.\n Valiant climbs out after her. The Weasles quickly relieve\n him of his Toon pistol.", "Just as Valiant is about to turn off the dip cannon, Doom\n lands on the truck. He knocks Eddie off the turret with a\n flying tackle. They both hit the floor.", "As Eddie pulls Jessica to her feet, two more Weasles descend\n on them. They fling Toon knives, which pin Eddie to a wooden", "DOOM\n He's not going anywhere. We'll send\n the mobile unit after him.\n\n Doom climbs into the car and it zooms off, Weasles jumping\n onto the running boards.", "come piling out. They stack up like an Indian totem pole\n searching every direction. One of them spots Eddie and\n Roger. The Weasles stumble all over themselves in a mad\n scramble down the stairs.", "of the factory. Doom pulls on his rubber gloves, turns to\n the Weasles.", "at the Weasle and knocks him on the head with the gavel head\n of his cane. Doom stalks out of the room.", "When Doom gets to the wagon, the Weasles open up the back.\n In place of steel bars is a stream of fluid. A Weasle turns", "DOOM\n (continuing)\n Now Eddie's gonna be deady, just like\n Teddy." ], [ "Just as Valiant is about to turn off the dip cannon, Doom\n lands on the truck. He knocks Eddie off the turret with a\n flying tackle. They both hit the floor.", "Doom takes his cane off Eddie's hand and reaches out for the\n paint chip. Valiant palms a piece and drops a smaller piece\n into Doom's hand. Doom examines it.", "Doom gets up, leaving Eddie stunned. He sprints to where the\n Weasle had dropped Eddie's pistol. Finally Eddie shakes it", "Jessica starts to pull the knives out, releasing Eddie.\n\n VALIANT\n How did you get onto Doom?", "Valiant jumps Doom. But Doom is stronger. He throws Valiant\n off and starts whacking him with his fist. He pummels", "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "DOOM\n (continuing)\n Now Eddie's gonna be deady, just like\n Teddy.", "off. He sees Doom about to reach the gun. He straps on a\n pair of Acme Rocket Skates, fires them up and shoots across", "BLAM! Doom hammers Valiant again. He's defenseless against\n Doom's super human strength. BLAM! Valiant goes", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "sprawling to the ground. Now Doom's hand turns into a\n buzzsaw. He goes to administer the coup de grace.", "LT. SANTINO\n What the hell is that?\n\n VALIANT\n Doom.", "Doom throws the gun on the ground. He pushes back a long\n lever on the truck, letting loose a tiny spurt of fluid from\n the discharge valve. The gun disappears.", "DOOM\n Nooooo!\n\n Jessica and Roger avert their eyes as the steamroller crushes\n Doom.", "DOOM\n He's not going anywhere. We'll send\n the mobile unit after him.\n\n Doom climbs into the car and it zooms off, Weasles jumping\n onto the running boards.", "grabs an Acme boxing glove. It accordians out and smashes\n Doom in the face. He goes flying out of the driver's seat,", "He offers his foot to a Weasle who shakes it. The others\n HOWL. Eddie flips upright and grabs a stick of Acme\n dynamite.", "DOOM\n (continuing)\n You couldn't miss him. Buck teeth.\n Orange pants. About yea big.\n\n Doom squashes the Midget's head down to approximate the size.", "At the last second, Eddie shouts at the Weasle.\n\n VALIANT\n Hey!\n\n The Weasle turns to him." ], [ "ROGER RABBIT\n (reads)\n Hey, it's the will. I, Marvin Acme, of", "Valiant throws the pattycake picture down on the table.\n Dolores and Roger both examine it closely.\n\n DOLORES\n Acme's will.", "BABY HERMAN\n And another thing, the paper said no\n will was found. But every Toon knows\n Acme had a will and, in it he promised\n to leave Toontown to the Toons.", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "if describing the position of Acme's will.", "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "DOOM\n Marvin Acme had no will. I should\n know, the probate is in my court.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "the name \"Acme\". The sign out frontsays: WATCH OUR\n PROGRESS. Eddie looks up, and before he can drive by, the", "VALIANT\n Well, Acme had the will in his pocket\n that night at the club. It was gone in\n the morning when the cops found the\n body.", "Behind the dressing table, the corner of a piece of blue\n paper peeks out. Valiant stoops down and fishes it out.\n It's a cover for a legal document -- \"Last Will and Testament\n -- Marvin Acme\".", "VALIANT\n Maybe Baby Herman was right. Somebody\n wants Acme's property. Cack the old\n man, pin it on Roger, and destroy the\n will.", "VALIANT\n He had a will, all right. She took it\n off Acme the night she and R.K. Maroon\n knocked him off. Then she set up her\n loving husband to take the fall.", "VALIANT\n Look, doll, if I wanted underwear, I\n woulda broken into Frederick's of\n Hollywood. I was lookin' for Marvin\n Acme's will.", "With his last ounce of strength, Valiant grabs the Acme\n Boxing Glove. He pops it. The glove extends across the\n room, punching the release lever on the dip truck.", "Acme stops and knocks on a dressing room door. After a\n moment, it opens and Acme goes inside. Valiant checks over", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "DOLORES\n Got me. But unless the will shows up\n by Friday midnight, it's theirs.", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "Valiant glances down. The box says, \"Acme Exploding Cigars\".\n He looks to Roger, but it's too late. KABOOM! KABOOM!" ], [ "No one. He shrugs and starts to search the room. He goes to\n Jessica's dressing table and rifles the drawers. In her", "Several Weasles rush for the opportunity to frisk Jessica.\n The head Weasle slaps the others away. Then WHEEZING", "Jessica's car speeds along. Valiant is in close pursuit in\n the Packard. He's about to catch up on the straightaway when\n Jessica's car disappears into a tunnel.\n\n\n VALIANT", "laciviously, he turns to the task. He starts to move his\n hands over her body when Jessica stomps her heel on his feet.", "He catches a glimpse of Jessica darting into the elevators.\n Valiant hustles inside after her.", "VALIANT\n\n lowers Roger and Jessica to the ground. We HEAR POLICE\n SIRENS approach. When Valiant unties them, Jessica turns and\n exclaims...", "alley toward the rear of the building. We FOLLOW him around\n the corner where he stops under Jessica's dressing room\n window. He drags over a milk crate to stand on, takes a", "Valiant turns to the voice. WHAP! Jessica slaps him hard\n enough across the face to make his head turn.", "Jessica is seated at her dressing table. Acme is on his\n knees next to her, kissing his way up her gloved hand, eyes", "Jessica moves the box aside and tugs on the rabbit ears. The\n rabbit head pops off. Underneath is a Weasle. In his hand\n is the Colt .45 Buntline.", "Queen. He giggles gleefully and makes a grab at Jessica.\n But she slips out of his grasp like mercury.", "Valiant nods toward Jessica, who stands coolly smoking a\n cigarette.", "MAROON\n So... trying to pull a fast one on me,\n huh?\n\n Jessica turns, startled. She stands and faces Maroon.\n\n\n VALIANT", "JESSICA RABBIT\n I think I got him.\n\n Jessica runs past Valiant to the figure. He follows,\n bewildered.", "Santino walks to Acme's glassed office where a sobbing\n Jessica Rabbit is being interrogated. We can only see her,", "VALIANT\n That's because I don't have a doorbell.\n\n Jessica, caught in her lie, flutters her eyelids nervously.", "Jessica takes the mike and comes off the stage. Slinkily.\n she wanders among the tables, teasing the men as she goes.", "Jessica takes a cigarette out of her purse. She lights it\n and blows a cloud of Toon smoke. It forms a recreation of\n what she describes.", "The Weasles display photographs of Jessica and Acme playing\n pattycake, a blow-up of his fingerprints spelling", "left at the gravesite. Sitting in a chair dabbing at her\n eyes with a handkerchief is Jessica Rabbit. Maroon walks up\n behind her." ], [ "Jessica takes the mike and comes off the stage. Slinkily.\n she wanders among the tables, teasing the men as she goes.", "Now Jessica works her way over to Eddie. She stops at his\n table and sings tauntingly. Then with a flourish, she throws\n herself in his lap, and belts out the finale.", "JESSICA\n\n like all good saloon singers, has continued her act\n undaunted.", "Jessica is seated at her dressing table. Acme is on his\n knees next to her, kissing his way up her gloved hand, eyes", "No one. He shrugs and starts to search the room. He goes to\n Jessica's dressing table and rifles the drawers. In her", "alley toward the rear of the building. We FOLLOW him around\n the corner where he stops under Jessica's dressing room\n window. He drags over a milk crate to stand on, takes a", "laciviously, he turns to the task. He starts to move his\n hands over her body when Jessica stomps her heel on his feet.", "Queen. He giggles gleefully and makes a grab at Jessica.\n But she slips out of his grasp like mercury.", "Jessica takes a cigarette out of her purse. She lights it\n and blows a cloud of Toon smoke. It forms a recreation of\n what she describes.", "Jessica's car speeds along. Valiant is in close pursuit in\n the Packard. He's about to catch up on the straightaway when\n Jessica's car disappears into a tunnel.\n\n\n VALIANT", "He catches a glimpse of Jessica darting into the elevators.\n Valiant hustles inside after her.", "Several Weasles rush for the opportunity to frisk Jessica.\n The head Weasle slaps the others away. Then WHEEZING", "Jessica moves the box aside and tugs on the rabbit ears. The\n rabbit head pops off. Underneath is a Weasle. In his hand\n is the Colt .45 Buntline.", "CLOSEUP - JESSICA\n\n as she steps to the mike.", "Valiant nods toward Jessica, who stands coolly smoking a\n cigarette.", "but show his true colors at the sight of Jessica. He HOWLS\n as if it were a full moon. His tongue rolls out of his head", "The Weasles display photographs of Jessica and Acme playing\n pattycake, a blow-up of his fingerprints spelling", "VALIANT\n\n lowers Roger and Jessica to the ground. We HEAR POLICE\n SIRENS approach. When Valiant unties them, Jessica turns and\n exclaims...", "As Eddie pulls Jessica to her feet, two more Weasles descend\n on them. They fling Toon knives, which pin Eddie to a wooden", "There is RAUCOUS APPLAUSE when she finishes. Jessica looks\n deep into Eddie's eyes.\n\n JESSICA RABBIT\n (continuing)\n Thanks for your lap." ], [ "Valiant tries to flag him down as he watches Maroon and\n Jessica having an arguement. There's accusatory finger\n pointing. In pantomime, Maroon gestures into his pocket as", "MAROON\n So... trying to pull a fast one on me,\n huh?\n\n Jessica turns, startled. She stands and faces Maroon.\n\n\n VALIANT", "Valiant turns to the voice. WHAP! Jessica slaps him hard\n enough across the face to make his head turn.", "Queen. He giggles gleefully and makes a grab at Jessica.\n But she slips out of his grasp like mercury.", "No one. He shrugs and starts to search the room. He goes to\n Jessica's dressing table and rifles the drawers. In her", "VALIANT\n\n lowers Roger and Jessica to the ground. We HEAR POLICE\n SIRENS approach. When Valiant unties them, Jessica turns and\n exclaims...", "Jessica is seated at her dressing table. Acme is on his\n knees next to her, kissing his way up her gloved hand, eyes", "laciviously, he turns to the task. He starts to move his\n hands over her body when Jessica stomps her heel on his feet.", "Jessica's car speeds along. Valiant is in close pursuit in\n the Packard. He's about to catch up on the straightaway when\n Jessica's car disappears into a tunnel.\n\n\n VALIANT", "He catches a glimpse of Jessica darting into the elevators.\n Valiant hustles inside after her.", "closed in ecstasy. Jessica takes her hand out of the glove\n and starts combing her hair, leaving Marvin kissing a\n suspended Toon glove.", "Valiant hops into Maroon's Packard. He hits the starter\n button and takes off after Jessica.\n\n\n NEW ANGLE", "Valiant nods toward Jessica, who stands coolly smoking a\n cigarette.", "left at the gravesite. Sitting in a chair dabbing at her\n eyes with a handkerchief is Jessica Rabbit. Maroon walks up\n behind her.", "Valiant tries to get to the truck, but it's too late. The\n cannon has reached them.\n\n\n CLOSE - ROGER AND JESSICA", "Several Weasles rush for the opportunity to frisk Jessica.\n The head Weasle slaps the others away. Then WHEEZING", "The Weasles display photographs of Jessica and Acme playing\n pattycake, a blow-up of his fingerprints spelling", "frantically for the Gardener to cut the machine. But the\n Gardener misconstrues it as a friendly greeting and waves\n back. Valiant turns in time to see Jessica kick Maroon in", "As Eddie pulls Jessica to her feet, two more Weasles descend\n on them. They fling Toon knives, which pin Eddie to a wooden", "alley toward the rear of the building. We FOLLOW him around\n the corner where he stops under Jessica's dressing room\n window. He drags over a milk crate to stand on, takes a" ], [ "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "LT. SANTINO\n What the hell is that?\n\n VALIANT\n Doom.", "Doom spesks in a Toony high-pitched squeak. Valiant\n recognizes him now.\n\n VALIANT\n You?", "DOOM\n ... then stood out here waiting for his\n prey. After he cold-bloodedly\n accomplished his task, he went home.\n He was almost apprehended there by my\n men.", "DOOM\n (continuing)\n Guilty as charged. Case closed!\n\n Doom slams the briefcase shut. He turns his attention back\n to the Gopher.", "is wriggling and SCREAMING bloody murder as Doom lifts him up\n and holds him over the tub. Then, as he's lowered into the", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "DOOM\n Yes, and for that you're charged with\n aiding and abetting. But we'll let\n Santino handle that.\n\n Doom pulls on the rubber gloves.", "Doom walks around Dolores toward the back. But Doom stops\n next to the blackboard. On it is written: \"Today's Special", "DOOM\n He's not going anywhere. We'll send\n the mobile unit after him.\n\n Doom climbs into the car and it zooms off, Weasles jumping\n onto the running boards.", "sprawling to the ground. Now Doom's hand turns into a\n buzzsaw. He goes to administer the coup de grace.", "DOOM\n These are bold accusations, Mr.\n Valiant. I hope you have some proof?\n\n VALIANT\n I found the cover the will came in\n behind the dressing table.", "DOOM\n (continuing)\n By the way, when I killed your brother,\n Teddy, I used to talk just like this.", "Doom's remains have rolled out like a flat black pancake.\n After a beat, an edge curls up with a CREAK. Now the whole", "DOOM\n (continuing)\n You couldn't miss him. Buck teeth.\n Orange pants. About yea big.\n\n Doom squashes the Midget's head down to approximate the size.", "Doom throws the gun on the ground. He pushes back a long\n lever on the truck, letting loose a tiny spurt of fluid from\n the discharge valve. The gun disappears.", "DOOM\n Nooooo!\n\n Jessica and Roger avert their eyes as the steamroller crushes\n Doom.", "The Weasle bloodhounds through the bar with Doom striding\n after him. We FOLLOW them to the door to the back room.\n Doom rips the door open.", "DOOM\n (continuing)\n Guilty as charged. Case closed!", "Doom goes to the truck and starts turning on valves and\n starting compressors.\n DOOM\n (continuing)" ], [ "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "LT. SANTINO\n What the hell is that?\n\n VALIANT\n Doom.", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "DOOM\n Nooooo!\n\n Jessica and Roger avert their eyes as the steamroller crushes\n Doom.", "Doom throws the gun on the ground. He pushes back a long\n lever on the truck, letting loose a tiny spurt of fluid from\n the discharge valve. The gun disappears.", "Doom walks around Dolores toward the back. But Doom stops\n next to the blackboard. On it is written: \"Today's Special", "DOOM\n He's not going anywhere. We'll send\n the mobile unit after him.\n\n Doom climbs into the car and it zooms off, Weasles jumping\n onto the running boards.", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "Doom steps up into their faces. Behind him, several Weasles\n are fashioning a noose.", "DOOM\n Yes, and for that you're charged with\n aiding and abetting. But we'll let\n Santino handle that.\n\n Doom pulls on the rubber gloves.", "is wriggling and SCREAMING bloody murder as Doom lifts him up\n and holds him over the tub. Then, as he's lowered into the", "Doom goes to the truck and starts turning on valves and\n starting compressors.\n DOOM\n (continuing)", "Doom smiles thinly at Valiant, tarns and walks with purpose\n towards the door. Santino and Valiant follow.", "Doom's car is parked inside. There are several other\n vehicles as well. There's a steamroller, a road grader, and", "DOOM\n You've defiled a symbol of justice.\n\n As Doom carries the Gopher to the \"Toontown Control\" wagon,\n Valiant shoots a look to Santino.", "sprawling to the ground. Now Doom's hand turns into a\n buzzsaw. He goes to administer the coup de grace.", "DOOM\n (continuing)\n You couldn't miss him. Buck teeth.\n Orange pants. About yea big.\n\n Doom squashes the Midget's head down to approximate the size.", "DOOM\n ... then stood out here waiting for his\n prey. After he cold-bloodedly\n accomplished his task, he went home.\n He was almost apprehended there by my\n men.", "DOOM\n (continuing)\n By the way, when I killed your brother,\n Teddy, I used to talk just like this.", "DOOM\n (continuing)\n Guilty as charged. Case closed!\n\n Doom slams the briefcase shut. He turns his attention back\n to the Gopher." ], [ "Doom slams the briefcase shut. Now two Weasles wheel the\n stainless steel tub filled with dip into the bar. Another\n hands Doom his black rubber gloves.", "Doom throws the gun on the ground. He pushes back a long\n lever on the truck, letting loose a tiny spurt of fluid from\n the discharge valve. The gun disappears.", "Just as Valiant is about to turn off the dip cannon, Doom\n lands on the truck. He knocks Eddie off the turret with a\n flying tackle. They both hit the floor.", "CLOSE - VALVE\n\n A flood of dip gushes out of the valve and rolls toward Doom\n like a wave.\n\n\n DOOM", "DOOM\n (continuing)\n For this heinous crime, I sentence you\n to the dip!", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "Doom's car is parked inside. There are several other\n vehicles as well. There's a steamroller, a road grader, and", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "DOOM\n (continuing)\n I hereby sentence you to the dip!", "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "Doom walks around Dolores toward the back. But Doom stops\n next to the blackboard. On it is written: \"Today's Special", "His tires smoke, then disappear. It's a dip slick. Without\n tires, Benny spins out of control, finally ending up in the\n bushes roadside.", "sprawling to the ground. Now Doom's hand turns into a\n buzzsaw. He goes to administer the coup de grace.", "DOOM\n Nooooo!\n\n Jessica and Roger avert their eyes as the steamroller crushes\n Doom.", "Valiant gets to the controls of the power winch. He hoists\n Roger and Jessica up out of the way. The Dipmobile passes\n harmlessly underneath them and SMASHES through the brick\n wall.", "Doom's remains have rolled out like a flat black pancake.\n After a beat, an edge curls up with a CREAK. Now the whole", "Doom goes to the truck and starts turning on valves and\n starting compressors.\n DOOM\n (continuing)", "off. He sees Doom about to reach the gun. He straps on a\n pair of Acme Rocket Skates, fires them up and shoots across", "Finally, the Gopher breaks free and makes a desperate dash\n for the wall. Doom watches him run and calmly turns to where", "grabs an Acme boxing glove. It accordians out and smashes\n Doom in the face. He goes flying out of the driver's seat," ], [ "Valiant looks at Roger like he's about to brain him. Roger\n pulls his hand free again, and cowers out of range. Valiant\n just rubs his forehead.", "Valiant saws a couple more strokes before the realization of\n what Roger's done hits him. His face darkens. Roger sees\n the look and sheepishly tries to recover by sticking his hand\n back in the cuff.", "VALIANT\n Well, right now it's gonna be your\n funereal.\n\n Valiant takes his fist back to belt Roger. Roger stands\n stoicly, jaw thrust forward, eyes closed.", "VALIANT\n (continuing)\n ... car.\n\n He shakes his head and looks around for signs of Roger.\n\n INTERCUT TO:", "Valiant gives up trying to open the door and grabs Roger. He\n pulls and he pulls. Finally Roger snaps off like a broken", "Valiant tries to untangle himself from Roger.\n\n VALIANT\n Grab it, you idiot!", "He's kicking up dust, his legs are blur. Valiant stumbles\n trying to keep up. When they round the corner, Roger slams", "VALIANT\n ... I'd head for Cucamonga.\n\n Valiant closes the door, leaving Roger alone. Roger paces\n back and forth manically.", "Valiant puts Roger down.\n\n VALIANT\n I'll talk to 'em. Find a place to\n hide.\n\n Roger zips to the closet door and goes inside.", "Valiant breathes a sigh of relief. He starts for the dip\n truck as the cannon swings back toward Roger and Jessica.\n But neither of them are watching the cannon. Their eyes are\n fixed on the ground behind the steamroller.", "Roger quiets like a child for a moment as Valiant saws\n feverishly. Then Roger slips his hand <U>out of the cuff</U> and\n holds his side while Eddie keeps sawing.", "Valiant grabs Roger by the scruff of the neck and opens the\n door. But he ducks back in quickly.\n\n\n VALIANT'S POW - THROUGH DOOR - JUDGE DOOM", "VALIANT\n\n lowers Roger and Jessica to the ground. We HEAR POLICE\n SIRENS approach. When Valiant unties them, Jessica turns and\n exclaims...", "Valiant opens the door of the Toon Control wagon, and flings\n Roger inside roughly.\n\n\n INT. CAB", "Valiant goes to the closet and opens the door. REVEAL Roger\n is now dressed in Eddie's trenchcoat and hat. Playfully,", "Earl breaks the news to Valiant soberly.\n\n EARL\n You're a pig... a happy-go-lucky pig.\n\n VALIANT\n No...", "they get to the end of the cuffs, they snap back into a pile.\n Valiant gets back to his feet and hauls Roger up angrily.", "Valiant leaps for Roger and gets bim by the throat. He rips\n the paper out of Roger's hand and crumples it up and throws", "Roger means it. The Weasles are laughing so hard they're\n giving themselves heart attacks. Valiant spins around on the\n floor like a clock dial gone berserk.", "VALIANT\n\n sticks his key in the door and unlocks it. Roger studies the\n banner." ], [ "Valiant jumps Doom. But Doom is stronger. He throws Valiant\n off and starts whacking him with his fist. He pummels", "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "BLAM! Doom hammers Valiant again. He's defenseless against\n Doom's super human strength. BLAM! Valiant goes", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "glue. He smiles at Valiant and hauls off again. Valiant\n ducks. Doom's fist strikes the top of the drum of the", "Just as Valiant is about to turn off the dip cannon, Doom\n lands on the truck. He knocks Eddie off the turret with a\n flying tackle. They both hit the floor.", "VALIANT\n Jesus.\n\n Doom pulls off the black rubber gloves finger by finger and\n hands them to a Weasle. He turns to Valiant.", "LT. SANTINO\n What the hell is that?\n\n VALIANT\n Doom.", "The Weasle turns at the last second, sticking the barrel up\n against Valiant's nose. Doom gets to his feet. He glowers", "VALIANT\n Have you tried Walla Walla? Kokomo's\n very nice this time of year.\n\n Doom steps into Valiant's face.", "Doom grabs an Acme slingshot, loads an Acme boulder and fires\n it at Valiant. BLAM! It whacks Valiant on the head, laying", "Valiant is on the outside of the building hanging onto a\n flagpole for dear life. He looks down at the street which\n looks miles below. Valiant inches back along the flagpole to\n the door and pulls himself to safety.", "VALIANT\n\n turns his attention from the brick wall back to Doom.", "Doom takes his cane off Eddie's hand and reaches out for the\n paint chip. Valiant palms a piece and drops a smaller piece\n into Doom's hand. Doom examines it.", "Valiant comes around to see the huge roller bearing down on\n him. At the last second, Valiant rolls out of the way and", "It's dark. Doom flicks on the light. REVEAL Valiant on the\n cot, his pint bottle cradled in his arm. He blinks as if\n awakened from a drunken slumber.", "Valiant reaches the turret just in time to swing the cannon\n around. The spray of dip blasts one of Voltaire's wings off.", "Valiant ignores the slings and arrows and surveys the scene\n of the crime. The door of the safe is ajar. Valiant tries\n to look inside. Forensic #2 closes the door with his knee.", "VALIANT\n You know, Doom, I don't know who's\n Toonier, you or the rabbit.\n\n Doom just smiles and knocks the pattern out on the crate.", "VALIANT\n Well, right now it's gonna be your\n funereal.\n\n Valiant takes his fist back to belt Roger. Roger stands\n stoicly, jaw thrust forward, eyes closed." ], [ "Doom takes the black rubber gloves off, REVEALING red hands\n with long fingernails. He makes his fist into an anvil and\n advances on Valiant.", "sprawling to the ground. Now Doom's hand turns into a\n buzzsaw. He goes to administer the coup de grace.", "Doom climbs into the steamroller and starts it up. He puts\n it into gear and starts it rolling toward Valiant.", "Valiant jumps Doom. But Doom is stronger. He throws Valiant\n off and starts whacking him with his fist. He pummels", "DOOM\n Nooooo!\n\n Jessica and Roger avert their eyes as the steamroller crushes\n Doom.", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "DOOM\n He's not going anywhere. We'll send\n the mobile unit after him.\n\n Doom climbs into the car and it zooms off, Weasles jumping\n onto the running boards.", "is wriggling and SCREAMING bloody murder as Doom lifts him up\n and holds him over the tub. Then, as he's lowered into the", "DOOM\n ... then stood out here waiting for his\n prey. After he cold-bloodedly\n accomplished his task, he went home.\n He was almost apprehended there by my\n men.", "off. He sees Doom about to reach the gun. He straps on a\n pair of Acme Rocket Skates, fires them up and shoots across", "Doom throws the gun on the ground. He pushes back a long\n lever on the truck, letting loose a tiny spurt of fluid from\n the discharge valve. The gun disappears.", "Doom's remains have rolled out like a flat black pancake.\n After a beat, an edge curls up with a CREAK. Now the whole", "Finally, the Gopher breaks free and makes a desperate dash\n for the wall. Doom watches him run and calmly turns to where", "DOOM\n (continuing)\n You couldn't miss him. Buck teeth.\n Orange pants. About yea big.\n\n Doom squashes the Midget's head down to approximate the size.", "LT. SANTINO\n What the hell is that?\n\n VALIANT\n Doom.", "Doom walks around Dolores toward the back. But Doom stops\n next to the blackboard. On it is written: \"Today's Special", "Doom steps up into their faces. Behind him, several Weasles\n are fashioning a noose.", "DOOM\n (continuing)\n Now Eddie's gonna be deady, just like\n Teddy.", "at the Weasle and knocks him on the head with the gavel head\n of his cane. Doom stalks out of the room.", "Doom smiles thinly at Valiant, tarns and walks with purpose\n towards the door. Santino and Valiant follow." ], [ "killed. I just wanted to sell my\n studio. But they wouldn't buy my\n property unless Acme would sell his.\n And he wouldn't. So I was gonna", "With his last ounce of strength, Valiant grabs the Acme\n Boxing Glove. He pops it. The glove extends across the\n room, punching the release lever on the dip truck.", "Doom arrives just in time to see his pet bird dissolved.\n Angrily, he steps onto a giant Acme Mousetrap. He uses a", "the name \"Acme\". The sign out frontsays: WATCH OUR\n PROGRESS. Eddie looks up, and before he can drive by, the", "back of the exuberant Marvin Acme. Sticking out of his back\n pocket is a legal folder headed \"Last Will and Testament\".", "Acme stops and knocks on a dressing room door. After a\n moment, it opens and Acme goes inside. Valiant checks over", "Now two WHITE-JACKETS from the Coroner's office start to\n carry Acme out on a stretcher. As they pass Valiant, a hand", "Valiant knocks Jessica to the ground. The bullets pass\n harmlessly overhead going into the window of the Acme Cheese", "off. He sees Doom about to reach the gun. He straps on a\n pair of Acme Rocket Skates, fires them up and shoots across", "comingling as if it were the most natural thing in the world.\n Valiant stops by an Acme Novelty truck which is unloading\n Toon props. There are bombs, rockets, flattened pocket", "Valiant throws the pattycake picture down on the table.\n Dolores and Roger both examine it closely.\n\n DOLORES\n Acme's will.", "piece of Acme cheese to spring it, catapulting him through\n the air.", "Valiant takes an enlargement of the pattycake shot and puts\n it on the table in front of Maroon. We can clearly see the\n will sticking out of Acme's pocket.", "Valiant glances down. The box says, \"Acme Exploding Cigars\".\n He looks to Roger, but it's too late. KABOOM! KABOOM!", "grabs an Acme boxing glove. It accordians out and smashes\n Doom in the face. He goes flying out of the driver's seat,", "VALIANT\n Well, Acme had the will in his pocket\n that night at the club. It was gone in\n the morning when the cops found the\n body.", "Valiant watches Acme disappear backstage. He stands, drops\n a couple bucks on the table, and follows after him.", "the floor. He knocks Doom into a stack of Acme boxes,\n toppling the whole shelf down on top of him.", "As Valiant is being pulled skyward he reaches for something\n along the wall of inventory. He grabs a handful of Acme", "A hearse, and a line of black limos are parked in the lane.\n Nearby, Marvin Acme's funeral is in progress. Clustered" ] ]

[ "How is Marvin Acme killed?", "What is Eddie Baliant's profession?", "What club does Jessica Rabbit perform at?", "Who is initially believed to have killed Marvin Acme?", "What is the substance called thag Judge Doom creates which has the power to kill toons?", "Who is Roger Rabbit's co-star?", "Who did Marvin Acme give his will to for safekeeping?", "What is the problem with Marvin Acme's will?", "Who killed Eddie Baliant's brother, Teddy?", "What is Toontown?", "Why did Eddie become an alcoholic and stop working with the toons?", "Why does R. K. Maroon hire Eddie Valient?", "What were Jessica and Acme doing in her dressing room?", "Who killed Teddy Valient?", "What is \"The Dip\"?", "Who does Jessica say killed Acme and Maroon?", "How does Eddie kill Doom's weasels?", "How does Eddie defeat Doom?", "What does Acme's will state?", "Who is hired to investigate Jessica?", "Where does Jessica perform?", "Who is married to Jessica?", "What is Doom reveled to be?", "What does Doom want to destroy?", "How is Doom's Dip machine destroyed?", "What does Roger shock Valiant with?", "What does Doom survive when fighting Valiant?", "How does Doom die?", "How does Acme die?" ]

[ [ "A safe was dropped on his head", "a safe dropped on his head" ], [ "Private Detective", "he's a private detective" ], [ "Ink & Paint Club", "At the Ink & paint club" ], [ "Roger Rabbit", "Roger" ], [ "The Dip", "Dip" ], [ "Baby Herman", "Baby Herman" ], [ "Jessica Rabbit", "Jessica Rabbit" ], [ "It is blank.", "It's missing" ], [ "Judge Doom", "Doom" ], [ "an animated part of Los Angeles where the \"toons\" live", "A town where toons live" ], [ "A toon killed his brother Teddy", "Because his brother Teddy was killed" ], [ "He believes that Roger Rabbit's wife Jessica is having an affair with Marvin Acme", "To find out if Jessica is involved with Acme" ], [ "Playing patty-cake", "Playing patty cake" ], [ "Judge Doom in his original toon form", "Judge Doom" ], [ "A toxic chemical, created by Judge Doom, to kill the Toons", "A substance that kills toons" ], [ "Judge Doom", "Doom" ], [ "He does a comedy act that makes them \"die laughing\"", "He performed a comedic vaudeville act which caused the weasels to die of laughter" ], [ "He uses a toon hammer and hits the button on the dip machine, dumping dip all over him.", "he uses a toon mallet with a spring-loaded boxing glove and fires it at a switch on the giant machine which empties Dip onto Doom" ], [ "That Toontown belongs to the toons.", "That the toons will on Toontown" ], [ "Valiant", "Eddie valiant" ], [ "Ink & Paint Club", "at the underground Ink & Paint Club" ], [ "Roger Rabbit", "Roger" ], [ "A toon in disguise ", "A toon in disguise" ], [ "Toontown", "Toontown" ], [ "Hit by a train", "By a train" ], [ "Joy buzzer", "a joy buzzer" ], [ "Flattened by steamroller", "being rolled over by a steamroller" ], [ "Dip machine", "Valiant kills Doom using a toon mallet that has a spring-loaded boxing glove that hits Doom with Dip" ], [ "Safe dropped on head", "A safe was dropped on his head" ] ]

[ [ "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "AGATHA.\nI forgive you. [_embracing him_].\n\nFREDERICK.\n[_as he enters_]. I hear the voice of my mother!—Ha! mother! father!", "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?", "AGATHA.\nBe patient, my dear Frederick. Since I see you, I am well. But I _have\nbeen_ very ill: so ill, that I despaired of ever beholding you again.", "AGATHA.\nNo, no, Frederick; your visit will make me so well, that I shall in a\nvery short time recover strength to work again; and you must return to", "FREDERICK.\n[_rapidly_]. No answer to these letters?\n\nAGATHA.\nNot a word.—But in time of war, you know, letters miscarry.", "FREDERICK.\nYou have nothing to sue for; only explain this mystery.\n\nAGATHA.\nI will, I will. But—my tongue is locked with remorse and shame. You\nmust not look at me.", "AGATHA.\n[_presses him to her breast_]. Where could be found such another son?\n\nFREDERICK.\nBut tell me my father’s name, that I may know how to shun him.", "AGATHA.\nHow is my Frederick? How did the Baron receive him?", "FREDERICK.\nNo!\n\nAGATHA.\nNo.—The laws of Germany excluded you from being registered at your\nbirth—for—you are a natural son!", "be Frederick of Wildenhaim, and Agatha of Wildenhaim—or Agatha Friburg,\nand Frederick Friburg. [_Exit_.", "FREDERICK.\nWhat is the matter? [_She bursts into tears._] For heaven’s sake,\nmother, tell me what’s the matter?\n\nAGATHA.\nYou have no certificate.", "FREDERICK.\nDon’t speak too much, mother.—Take your time.\n\nAGATHA.\nTell me, dear child, how you have passed the five years since you left\nme.", "[_She stretches her hand for the gift, looks steadfastly at him, and\ncries out with astonishment and joy._]\n\n\nAGATHA.\nFrederick!", "FREDERICK.\nDo you hear, mother—will you, mother? [Agatha _makes a sign with her\nhand as if she could not take any thing._] She will not. Is there no\ndoctor in this neighbourhood?", "AGATHA.\nI thank you, my dear Frederick—Wine revives me—Wine from the hand of my\nson gives me almost a new life.", "AGATHA.\nI cannot speak, dear son! [_Rising and embracing him._] My dear\nFrederick! The joy is too great—I was not prepared—", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter." ], [ "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?", "had made of repentance and amendment. I _have_ fulfilled it—and now,\nFrederick, you may look at me again. [_He embraces her._]", "FREDERICK.\n—He took advantage of an innocent young woman, gained her affection by\nflattery and false promises; gave life to an unfortunate being, who was\non the point of murdering his father.", "FREDERICK.\nYou are an infamous—[_goes back to his mother_] Oh! my poor", "FREDERICK.\nAfter five years’ absence from my mother, I returned this very day, and", "FREDERICK.\n[_hastily_]. Oh, yes, he has—[_recollecting himself_]—I mean him that\nwas out shooting to-day.", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "FREDERICK.\nOne favour I have to beg, one favour only.—I know that I am guilty, and\nam ready to receive the punishment my crime deserves. But I have a", "FREDERICK.\nOh, no, mother—I have leave of absence only for two months; and that\nfor a particular reason. But I will not quit you so soon, now I find\nyou are in want of my assistance.", "AGATHA.\nNo, no, Frederick; your visit will make me so well, that I shall in a\nvery short time recover strength to work again; and you must return to", "FREDERICK.\nYou are mistaken—My father does not discard me for my vices—He does not\nknow me—has never seen me—He abandoned me, even before I was born.", "FREDERICK.\nTo return with this trifle for which I have stooped to beg! return to", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "FREDERICK.\n[_hearing the door open, and turning around_]. Who’s there?\n\nAMELIA.\nYou must be hungry and thirsty, I fear.", "MR. ANHALT.\nI shall obey your commands. [_He goes to door, and re-enters with_\nFrederick. Anhalt _then retires at the same door_.]", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\nA thousand thanks, dear stranger. Ah! could I prevail on you to have it\nsent to my mother, who is on her death-bed, under the roof of an honest", "FREDERICK.\nNo, no—his wine is as bad as his heart: she has drank some of it, which\nI am afraid has turned to poison." ], [ "AGATHA.\nWhen the time drew near that I could no longer conceal my guilt and\nshame, my seducer prevailed upon me not to expose him to the resentment", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "WIFE.\nYes, I remember when he fell in love with poor Agatha, Friburg’s\ndaughter: what a piece of work that was—It did not do him much credit.\nThat was a wicked thing.", "AGATHA.\nWhen we parted five years ago, you were too young to be intrusted with\na secret of so much importance.—But the time is come when I can, in", "FREDERICK.\nYou have nothing to sue for; only explain this mystery.\n\nAGATHA.\nI will, I will. But—my tongue is locked with remorse and shame. You\nmust not look at me.", "AGATHA.\nYes, I am that unfortunate woman; and the man who pretends to take", "AGATHA.\nI now sought protection from the old clergyman of the parish. He\nreceived me with compassion. On my knees I begged forgiveness for the", "AGATHA.\nBe patient, my dear Frederick. Since I see you, I am well. But I _have\nbeen_ very ill: so ill, that I despaired of ever beholding you again.", "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?", "MR. ANHALT.\nNot so soon, not so private. The whole village was witness of Agatha’s", "Therefore thank Heaven that it is in your _power_ to redeem it. By\nmarrying Agatha the ransom’s made: and she brings a dower greater than", "AGATHA.\n[_presses him to her breast_]. Where could be found such another son?\n\nFREDERICK.\nBut tell me my father’s name, that I may know how to shun him.", "COTTAGER.\nWho knows whether he was the father of Agatha’s child? She never said\nhe was.", "But first, I must presume to ask a few questions.—Did Agatha, through\nartful insinuation, gain your affection? or did she give you cause to\nsuppose her inconstant?", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "woman has been obliged to beg. Why should not you? [Agatha _sits down\nupon a large stone under a tree._] For instance, here comes somebody;", "WIFE.\n[_to_ Agatha.] This young man being tutor in our Baron’s family, he was\nvery much beloved by them all; and so the Baron gave him this living in\nconsequence.", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "AGATHA.\nI forgive you. [_embracing him_].\n\nFREDERICK.\n[_as he enters_]. I hear the voice of my mother!—Ha! mother! father!", "AGATHA.\nThen listen to me, and take notice of that village, [_pointing_] of\nthat castle, and of that church. In that village I was born—in that" ], [ "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "SCENE II.\n\n_A Room in the Castle._\n\n\n_Enter_ BARON WILDENHAIM _and_ AMELIA.", "BARON.\nHe is—he—in a word I don’t like him.\n\nMR. ANHALT.\n[_with emotion_]. And Miss Wildenhaim ——", "FREDERICK.\nBaron Wildenhaim!—Almighty powers!\n\nAMELIA.\nWhat’s the matter?", "AGATHA.\nBaron Wildenhaim?\n\nWIFE.\nYes, Baron Wildenhaim.\n\nAGATHA.\nAnd his lady?", "MR. ANHALT.\nBaron Wildenhaim is a man who will not act inconsistently.—As this is\nmy opinion, I expect your reasons, if you do not.", "FREDERICK.\nBaron Wildenhaim! I shall never forget it.—Oh! you are near fainting.\nYour eyes are cast down. What’s the matter? Speak, mother!", "BARON.\nAgatha, Agatha, do you know this voice?\n\nAGATHA.\nWildenhaim.\n\nBARON.\nCan you forgive me?", "MR. ANHALT.\nBaron Wildenhaim.\n\nFREDERICK.\nBaron Wildenhaim! He lived formerly in Alsace.", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "COUNT.\nAh, my dear Colonel! Miss Wildenhaim, I kiss your hand.\n\nBARON.\nGood morning! Good morning! though it is late in the day, Count. In the\ncountry we should rise earlier.", "FREDERICK.\nI thank you for this information; and if you will undertake to procure\nme a private interview with Baron Wildenhaim——", "BARON.\nDesist—barbarian, savage, stop!\n\n_Enter_ Anhalt _alarmed._", "concern in my misfortunes is——Baron Wildenhaim——he who betrayed me,\nabandoned me and my child, and killed my parents.—He would now repair", "BARON.\nAnd his mother shall live in happiness—My estate, Weldendorf, shall be", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter.", "BARON.\nStop! Let me first recover a little. [_Walks up and down, sighing", "BARON.\nGo.—Your heart will tell you how to act. [_Exit_ Anhalt.] [Baron", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "AMELIA.\nAy, if you only intended to frighten them, the Count was the very\nperson for your purpose. But you caught hold of the other\ngentleman.—And could you hope to intimidate Baron Wildenhaim?" ], [ "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "BARON.\n[_sitting down, and trying to compose himself_]. You are not to marry\ncount Cassel—And now, mention his name to me no more.", "BARON.\nBut I want prose on this occasion, and command you to give me nothing\nelse. [Butler _bows_.] Have you heard of an engagement which Count\nCassel is under to any other woman than my daughter?", "BARON.\nPsha! I want to know if you can love the Count. You saw him at the last\nball we were at in France: when he capered round you; when he danced", "AMELIA.\nHe came to me by your command, to examine my heart respecting Count\nCassel. I told him that I would never marry the Count.\n\nBARON.\nBut him?", "BARON.\nBirth and fortune. Yet, if I thought my daughter absolutely disliked\nhim, or that she loved another, I would not thwart a first", "BARON.\nI know, my dear Amelia, I can repay you for the loss of Count Cassel;\nbut what return can I make to you for the loss of half your fortune?", "BARON.\nI hope you will judge more favourably of Count Cassel’s understanding\nsince the private interview you have had with him. Confess to me the\nexact effect of the long conference between you.", "BARON.\nMy obligations to you are infinite—Amelia shall pay the debt. [_Gives\nher to him_.]", "COUNT.\nWhat can be the cause?\n\nBARON.\nI’ll not keep you in doubt a moment. You are accused, young man, of\nbeing engaged to another woman while you offer marriage to my child.", "BARON.\nThere he is right—But if it happens that birth and fortune are joined\nwith sense and virtue——\n\nAMELIA.\nBut is it so with Count Cassel?", "BARON.\nAnd of what nation would you prefer your good woman to be, Count?\n\nCOUNT.\nOf Germany. [_bowing to_ Amelia.]\n\nAMELIA.\nIn compliment to me?", "“Count Cassel wooed this maid so rare,\n And in her eye found grace;\nAnd if his purpose was not fair,”\n\n\nBARON.\nNo verse.", "BARON.\nWhere is she?\n\nMR. ANHALT.\nIn the castle—in my apartments here—I conducted her through the garden,\nto avoid curiosity.", "AMELIA.\nWould it not be noble to make the daughter of his benefactor happy?\n\nBARON.\nBut when that daughter is a child, and thinks like a child——", "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "BARON.\nWithout evasion, Sir, do you know the name of Baden? Was there ever a\npromise of marriage made by you to his daughter? Answer me plainly: or\nmust I take a journey to inquire of the father?", "AMELIA.\nDear father! I shall never be able to love another—Never be happy with\nany one else. [_Throwing herself on her knees_.]\n\nBARON.\nRise, I command you." ], [ "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "BARON.\n[_calling_]. Here! here! seize and secure him.\n\n[_Some of the Gamekeepers run on, lay hold of_ Frederick, _and disarm\nhim._]", "FREDERICK.\nYou are an infamous—[_goes back to his mother_] Oh! my poor", "FREDERICK.\nOne favour I have to beg, one favour only.—I know that I am guilty, and\nam ready to receive the punishment my crime deserves. But I have a", "FREDERICK.\n—He took advantage of an innocent young woman, gained her affection by\nflattery and false promises; gave life to an unfortunate being, who was\non the point of murdering his father.", "FREDERICK.\nProceed, proceed! give me full information—I will have courage to hear\nit all. [_Greatly agitated._]", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter.", "BARON.\nTake him away, and imprison him where I told you.\n\nFREDERICK.\n[_as he is forced off by the keepers_]. Woe to that man to whom I owe\nmy birth! [_Exit._", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "had made of repentance and amendment. I _have_ fulfilled it—and now,\nFrederick, you may look at me again. [_He embraces her._]", "FREDERICK.\nNo, no—his wine is as bad as his heart: she has drank some of it, which\nI am afraid has turned to poison.", "MR. ANHALT.\nI shall obey your commands. [_He goes to door, and re-enters with_\nFrederick. Anhalt _then retires at the same door_.]", "FREDERICK.\nGood heavens! Here is my little money, take it all! Oh mother! mother!\n[_Runs to the inn_]. Landlord! Landlord! [_knocking violently at the\ndoor._]", "FREDERICK.\nThen I must—[_Apart, coming forward_]—Yes, I will go, and beg.—But", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "[Frederick _gives him money._]\n\n\nFREDERICK.\nThis is all I have.—Here, here, mother.", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "FREDERICK.\nIn this house did you rob my mother of her honour; and in this house I" ], [ "MR. ANHALT.\nI shall obey your commands. [_He goes to door, and re-enters with_\nFrederick. Anhalt _then retires at the same door_.]", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter.", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "BARON.\n“Friend, wish me joy—I will _marry_ Agatha.”\n\nMR. ANHALT.\nI do wish you joy.", "MR. ANHALT.\nYou will be rewarded for it. [_to_ Agatha.] May I beg leave to ask your\nname?\n\nAGATHA.\nAh! If we were alone——", "FREDERICK.\nNo!\n\nAGATHA.\nNo.—The laws of Germany excluded you from being registered at your\nbirth—for—you are a natural son!", "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "MR. ANHALT.\n[_forcibly_]. Marry her.\n\nBARON.\n[_starting_]. I marry her!", "be Frederick of Wildenhaim, and Agatha of Wildenhaim—or Agatha Friburg,\nand Frederick Friburg. [_Exit_.", "AMELIA.\nYes, I know.\n\nMR. ANHALT.\nAnd do you know for what reason?\n\nAMELIA.\nHe wishes to marry me.", "AMELIA.\nWhy, then, does not Mr. Anhalt marry?\n\nBARON.\nYou must ask him that question yourself.\n\nAMELIA.\nI have.", "FREDERICK.\n[_rapidly_]. No answer to these letters?\n\nAGATHA.\nNot a word.—But in time of war, you know, letters miscarry.", "AGATHA.\nHow? Oh, Sir! tell me quickly—Whom do you think to find in me?\n\nMR. ANHALT.\nAgatha Friburg.", "[_He looks stedfastly at the door_—Anhalt _leads on_ Agatha—_The_ Baron", "AGATHA.\nNo, no, Frederick; your visit will make me so well, that I shall in a\nvery short time recover strength to work again; and you must return to", "MR. ANHALT.\nHe is not his son.\n\nFREDERICK.\n[_to himself_]. Thank Heaven!\n\nMR. ANHALT.\nHe is only a visitor.", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "FREDERICK.\nYou have nothing to sue for; only explain this mystery.\n\nAGATHA.\nI will, I will. But—my tongue is locked with remorse and shame. You\nmust not look at me.", "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?" ], [ "BARON.\n“Friend, wish me joy—I will _marry_ Agatha.”\n\nMR. ANHALT.\nI do wish you joy.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "AMELIA.\nWhy, then, does not Mr. Anhalt marry?\n\nBARON.\nYou must ask him that question yourself.\n\nAMELIA.\nI have.", "BARON.\nHe is—he—in a word I don’t like him.\n\nMR. ANHALT.\n[_with emotion_]. And Miss Wildenhaim ——", "BARON.\nWould you have me marry a beggar?\n\nMR. ANHALT.\n[_after a pause_]. Is that your only objection?", "MR. ANHALT.\nDoes he? [_hastily_] But believe me, the Baron will not persuade\nyou—No, I am sure he will not.\n\nAMELIA.\nI know that.", "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "MR. ANHALT.\nI do not mean to justify the Baron, but—he has loved you—and fear of\nhis noble kindred alone caused his breach of faith to you.", "AGATHA.\nMy son? what of my son?\n\nMR. ANHALT.\nDo not be alarmed—The Baron met with an affectionate son, who begged\nfor his sick mother, and it affected him.", "AGATHA.\nI go to the Baron’s?—No.\n\nMR. ANHALT.\nGo for the sake of your son—reflect, that his fortunes may depend upon\nyour presence.", "MR. ANHALT.\nBe patient—I give you my word, that when the Baron sent this present to\nan unfortunate woman, for whom her son had supplicated, he did not know\nthat woman was Agatha.", "MR. ANHALT.\n[_forcibly_]. Marry her.\n\nBARON.\n[_starting_]. I marry her!", "BARON.\nAs quiet as an infant’s. I only wish the first interview was over.\n\nMR. ANHALT.\nCompose yourself. Agatha’s heart is to be your judge.", "BARON.\nDesist—barbarian, savage, stop!\n\n_Enter_ Anhalt _alarmed._", "BARON.\n[_sitting down, and trying to compose himself_]. You are not to marry\ncount Cassel—And now, mention his name to me no more.", "MR. ANHALT.\n[_very hastily_]. According to your commands, Baron ——\n\nAMELIA.\nBut he has conjured me ——", "MR. ANHALT.\nGo on.\n\nBARON.\nMy relations would despise me.\n\nMR. ANHALT.\nGo on.", "MR. ANHALT.\nThis commission of the Baron’s in respect to his daughter, I am—[_looks", "BARON.\nAnhalt, you have done wrong. I pity the unhappy boy; but you know I\ncannot, must not forgive him.", "AGATHA.\nBegged of the Baron! of his father!\n\nMR. ANHALT.\nYes; but they did not know each other; and the mother received the\npresent on the son’s account." ], [ "BARON.\n[_calling_]. Here! here! seize and secure him.\n\n[_Some of the Gamekeepers run on, lay hold of_ Frederick, _and disarm\nhim._]", "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "FREDERICK.\n[_starting_]. I—I see the Baron! I!—I supplicate for my", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "BARON.\nYoung man! Frederick!—[_calling after him_.] Hasty indeed! would make", "FREDERICK.\nI thank you for this information; and if you will undertake to procure\nme a private interview with Baron Wildenhaim——", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\n[_to the Baron_]. Have pity, noble Sir, and relieve the distress of an\nunfortunate son, who supplicates for his dying mother.", "FREDERICK.\nBaron Wildenhaim! I shall never forget it.—Oh! you are near fainting.\nYour eyes are cast down. What’s the matter? Speak, mother!", "FREDERICK.\nProceed, proceed! give me full information—I will have courage to hear\nit all. [_Greatly agitated._]", "AGATHA.\nHow is my Frederick? How did the Baron receive him?", "FREDERICK.\nBaron Wildenhaim!—Almighty powers!\n\nAMELIA.\nWhat’s the matter?", "BARON.\n[_haughtily to_ Frederick]. I know, young man, you plead your mother’s", "BARON.\nCertainly. [Butler _appears uneasy and loath to speak._] Amelia, he\ndoes not like to divulge what he knows in presence of a third", "BARON.\nTake him away, and imprison him where I told you.\n\nFREDERICK.\n[_as he is forced off by the keepers_]. Woe to that man to whom I owe\nmy birth! [_Exit._", "FREDERICK.\nIn what capacity?—As your domestic—or as——\n\nBARON.\nThat we will settle afterwards.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "FREDERICK.\nMy father’s cruelty.\n\nBARON.\nYou have a father then?", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter." ], [ "FREDERICK.\nMy father’s cruelty.\n\nBARON.\nYou have a father then?", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "FREDERICK.\nYou are mistaken—My father does not discard me for my vices—He does not\nknow me—has never seen me—He abandoned me, even before I was born.", "FREDERICK.\n[_endeavouring to conceal his emotion_]. No, no—I am still your son—and\nyou are still my mother. Only tell me, who is my father?", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "FREDERICK.\nSo! his wife is dead;—and that generous young lady who came to my\nprison just now is his daughter?\n\nMR. ANHALT.\nMiss Wildenhaim, his daughter.", "FREDERICK.\n—He took advantage of an innocent young woman, gained her affection by\nflattery and false promises; gave life to an unfortunate being, who was\non the point of murdering his father.", "FREDERICK.\nYour father! heaven forbid.—I meant but to preserve her life, who gave\nme mine.—Murder your father! No, no—I hope not.", "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "FREDERICK.\n[_after a pause_]. Go on.—Let me know more of my father.", "FREDERICK.\nAnd that young gentleman, I saw with him this morning, is his son?\n\nMR. ANHALT.\nHe has no son.", "FREDERICK.\n[_with the greatest emotion_]. _My_ father!", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "FREDERICK.\nYou are an infamous—[_goes back to his mother_] Oh! my poor", "FREDERICK.\n[_all agitation_]. My _father_! Eternal judge! tho do’st slumber! The", "FREDERICK.\nThey disown me, too—I am, they say, related to no one—All the world\ndisclaim me, except my mother—and there again, I have to thank my\nfather.", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\n[_to the Baron_]. Have pity, noble Sir, and relieve the distress of an\nunfortunate son, who supplicates for his dying mother.", "FREDERICK.\nNo!\n\nAGATHA.\nNo.—The laws of Germany excluded you from being registered at your\nbirth—for—you are a natural son!", "MR. ANHALT.\nHe is not his son.\n\nFREDERICK.\n[_to himself_]. Thank Heaven!\n\nMR. ANHALT.\nHe is only a visitor." ], [ "BARON.\nAgatha, Agatha, do you know this voice?\n\nAGATHA.\nWildenhaim.\n\nBARON.\nCan you forgive me?", "AGATHA.\nBaron Wildenhaim?\n\nWIFE.\nYes, Baron Wildenhaim.\n\nAGATHA.\nAnd his lady?", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "BARON.\nHe is—he—in a word I don’t like him.\n\nMR. ANHALT.\n[_with emotion_]. And Miss Wildenhaim ——", "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "MR. ANHALT.\nBe patient—I give you my word, that when the Baron sent this present to\nan unfortunate woman, for whom her son had supplicated, he did not know\nthat woman was Agatha.", "FREDERICK.\nBaron Wildenhaim! I shall never forget it.—Oh! you are near fainting.\nYour eyes are cast down. What’s the matter? Speak, mother!", "before we parted, were—“The moment you arrive at Wildenhaim, make all\nenquiries to find out my poor Agatha.” Every letter from him contained", "AGATHA.\nBaron Wildenhaim.", "MR. ANHALT.\nBaron Wildenhaim is a man who will not act inconsistently.—As this is\nmy opinion, I expect your reasons, if you do not.", "BARON.\n“Friend, wish me joy—I will _marry_ Agatha.”\n\nMR. ANHALT.\nI do wish you joy.", "BARON.\nAs quiet as an infant’s. I only wish the first interview was over.\n\nMR. ANHALT.\nCompose yourself. Agatha’s heart is to be your judge.", "AGATHA.\nMy son? what of my son?\n\nMR. ANHALT.\nDo not be alarmed—The Baron met with an affectionate son, who begged\nfor his sick mother, and it affected him.", "SCENE II.\n\n_A Room in the Castle._\n\n\n_Enter_ BARON WILDENHAIM _and_ AMELIA.", "WIFE.\n[_to_ Agatha.] This young man being tutor in our Baron’s family, he was\nvery much beloved by them all; and so the Baron gave him this living in\nconsequence.", "FREDERICK.\nBaron Wildenhaim!—Almighty powers!\n\nAMELIA.\nWhat’s the matter?", "BARON.\nWhat deeds?\n\nAMELIA.\nMade vows of love to so many women, that, on his marriage with me, a\nhundred female hearts will at least be broken.", "WIFE.\n[_addressing her discourse to_ Agatha.] By all accounts the Baroness\nwas very haughty; and very whimsical.", "the Baron, not to a stranger, but to Agatha Friburg—not with gold! his\ncommission was—“do what your heart directs you.”", "FREDERICK.\nI thank you for this information; and if you will undertake to procure\nme a private interview with Baron Wildenhaim——" ], [ "AMELIA.\nDear father! I shall never be able to love another—Never be happy with\nany one else. [_Throwing herself on her knees_.]\n\nBARON.\nRise, I command you.", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "AMELIA.\nYes, I know.\n\nMR. ANHALT.\nAnd do you know for what reason?\n\nAMELIA.\nHe wishes to marry me.", "AMELIA.\nI wish I was.\n\nMR. ANHALT.\nWhy so?\n\nAMELIA.\nBecause _he_ would, perhaps, love me again.", "BARON.\nMy obligations to you are infinite—Amelia shall pay the debt. [_Gives\nher to him_.]", "AMELIA.\n[_after a pause_]. I think love comes just as it pleases, without being\nasked.\n\nBARON.\nIt does so [_in deep thought_].", "MR. ANHALT.\nThis is nothing to the subject.\n\nAMELIA.\nWhat is the subject?\n\nMR. ANHALT.\n—— Love.", "AMELIA.\nYes, my Lord.\n\nBARON.\nRespecting matrimony?\n\nAMELIA.\nYes; and I have told him ——", "AMELIA.\nI believe not.\n\nBARON.\nBut I think it proper to acquaint you he is rich, and of great\nconsequence: rich and of consequence; do you hear?", "AMELIA.\nYou may tell my father—I’ll marry. [_Rises._]", "AMELIA.\n[_after another pause_]. And there are instances where, perhaps, the\nobject of love makes the passion meritorious.\n\nBARON.\nTo be sure there are.", "AMELIA.\nVery well.\n\nBARON.\nDo not you blush when I talk of him?\n\nAMELIA.\nNo.", "AMELIA.\nTo make me hate him.\n\nBARON.\nWhat has he done?\n\nAMELIA.\nOh! told me of such barbarous deeds he has committed.", "AMELIA.\nYes; and then he feels another gratitude towards me. What’s that?\n\nBARON.\nHas he told you so?\n\nAMELIA.\nYes.", "AMELIA.\nFor example; my affection for Mr. Anhalt as my tutor.\n\nBARON.\nRight.", "AMELIA.\nA very proper subject from the man who has taught me love, and I accept\nthe proposal [_curtsying_].\n\nMR. ANHALT.\nAgain you misconceive and confound me.", "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?", "AMELIA.\nIs there any country where love is taught?\n\nCOUNT.\nIn all barbarous countries. But the whole system is exploded in places\nthat are civilized.", "AMELIA.\nHe came to me by your command, to examine my heart respecting Count\nCassel. I told him that I would never marry the Count.\n\nBARON.\nBut him?", "AMELIA.\nWould it not be noble to make the daughter of his benefactor happy?\n\nBARON.\nBut when that daughter is a child, and thinks like a child——" ], [ "[Frederick _gives him money._]\n\n\nFREDERICK.\nThis is all I have.—Here, here, mother.", "FREDERICK.\nGood heavens! Here is my little money, take it all! Oh mother! mother!\n[_Runs to the inn_]. Landlord! Landlord! [_knocking violently at the\ndoor._]", "FREDERICK.\nThen I must—[_Apart, coming forward_]—Yes, I will go, and beg.—But", "FREDERICK.\nYes, mother, directly—directly. [_Aside_] Oh where shall I—no money—not\na farthing left.", "FREDERICK.\nOne favour I have to beg, one favour only.—I know that I am guilty, and\nam ready to receive the punishment my crime deserves. But I have a", "FREDERICK.\nIf you have a charitable heart, give me one dollar.\n\nBARON.\nThis is the first time I was ever dictated by a beggar what to give\nhim.", "FREDERICK _alone, with a few pieces of money which he turns about in\nhis hands._", "FREDERICK.\n—He took advantage of an innocent young woman, gained her affection by\nflattery and false promises; gave life to an unfortunate being, who was\non the point of murdering his father.", "FREDERICK.\nWith one dollar you will save a distracted man.\n\nBARON.\nI don’t choose to give any more. Count, go on.", "FREDERICK.\nA thousand thanks, dear stranger. Ah! could I prevail on you to have it\nsent to my mother, who is on her death-bed, under the roof of an honest", "FREDERICK.\n[_to the Baron_]. Have pity, noble Sir, and relieve the distress of an\nunfortunate son, who supplicates for his dying mother.", "FREDERICK.\nYou are an infamous—[_goes back to his mother_] Oh! my poor", "BARON.\n[_surprised_]. Not enough!\n\nFREDERICK.\nNo, it is not enough.\n\nCOUNT.\nThe most singular beggar I ever met in all my travels.", "FREDERICK.\nBecause I am an illegitimate son.—My seduced mother has brought me up\nin patient misery. Industry enabled her to give me an education; but", "FREDERICK.\nWhen I left you five years ago, you gave me every thing you could\nafford, and all you thought would be necessary for me. But one trifle", "FREDERICK.\nYou are mistaken—My father does not discard me for my vices—He does not\nknow me—has never seen me—He abandoned me, even before I was born.", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\nTo return with this trifle for which I have stooped to beg! return to", "FREDERICK.\n[_weeping_]. Be quick with your narrative, or you’ll break my heart." ], [ "AMELIA.\nYes, I know.\n\nMR. ANHALT.\nAnd do you know for what reason?\n\nAMELIA.\nHe wishes to marry me.", "AMELIA.\nWhy, then, does not Mr. Anhalt marry?\n\nBARON.\nYou must ask him that question yourself.\n\nAMELIA.\nI have.", "MR. ANHALT.\nHe wishes that I should ascertain whether you have an inclination ——\n\nAMELIA.\nFor the Count, or for matrimony do you mean?", "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "AMELIA.\nOh no! my lord, have pity on him! Plead for him, Mr. Anhalt!\n\nBARON.\nAmelia, have you had any conversation with Mr. Anhalt?", "MR. ANHALT.\n[_very hastily_]. According to your commands, Baron ——\n\nAMELIA.\nBut he has conjured me ——", "MR. ANHALT.\n[_to himself_] Oh! Heavens!—[_to_ Amelia]. I—I come from your father", "MR. ANHALT.\nDoes he? [_hastily_] But believe me, the Baron will not persuade\nyou—No, I am sure he will not.\n\nAMELIA.\nI know that.", "MR. ANHALT.\nFor that very reason I am sent to you to explain the good and the bad\nof which matrimony is composed.\n\nAMELIA.\nThen I beg first to be acquainted with the good.", "MR. ANHALT.\nI—I—me—I—I am out of the question.\n\nAMELIA.\nNo; you are the very person to whom I have put the question.", "AMELIA.\nA very proper subject from the man who has taught me love, and I accept\nthe proposal [_curtsying_].\n\nMR. ANHALT.\nAgain you misconceive and confound me.", "MR. ANHALT.\nThis is nothing to the subject.\n\nAMELIA.\nWhat is the subject?\n\nMR. ANHALT.\n—— Love.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?", "COUNT.\nWho is Mr. Anhalt?\n\nAMELIA.\nOh, a very good man. [_With warmth._]", "AMELIA.\nYes, my Lord.\n\nBARON.\nRespecting matrimony?\n\nAMELIA.\nYes; and I have told him ——", "MR. ANHALT.\n[_warmly_]. Who is there that would not?\n\nAMELIA.\nWould you?", "MR. ANHALT.\nI think myself amply rewarded by the good opinion you have of me.\n\nAMELIA.\nWhen I remember what trouble I have sometimes given you, I cannot be\ntoo grateful.", "MR. ANHALT.\nI have endeavoured, my Lord, to find out ——\n\nAMELIA.\nYet, I am sure, dear papa, your affection for me ——" ], [ "’tis for other men at times to remember. But in plain truth, my Lord,\nthe Count was treacherous, cruel, forsworn.", "COUNT.\nYou are singularly scrupulous. I question if the man thought himself\nso.\n\nBARON.\nYes he did.\n\nCOUNT.\nHow do you know?", "COUNT.\nI obey—And let me assure you, my Lord, that, although, from the extreme\ndelicacy of your honour, you have ever through life shuddered at", "COUNT.\nWhat can be the cause?\n\nBARON.\nI’ll not keep you in doubt a moment. You are accused, young man, of\nbeing engaged to another woman while you offer marriage to my child.", "BARON.\nQuick, quick, Count! Aye, aye, that was a blunder indeed. Don’t you see", "BARON.\nI hope you will judge more favourably of Count Cassel’s understanding\nsince the private interview you have had with him. Confess to me the\nexact effect of the long conference between you.", "BARON.\nBut do you not think of some atonement to the unfortunate girl?\n\nCOUNT.\nDid _your_ villain atone?", "BARON.\n[_hesitating_]. I have heard him say so.\n\nCOUNT.\nBut he ate, drank, and slept, I suppose?", "COUNT.\nWhat, did you never meet with such a thing before?\n\nBARON.\n[_agitated_]. If I have—I pronounced the man who so offended—a villain.", "“The Count he gave her oaths a score\nAnd took in change her honour.”\n\n\n[_Exit_ Butler.\n\n\nBARON.\nCount, you see me agitated.", "AMELIA.\nHe has commanded me never to conceal or disguise the truth. I will\npropose it to him. The subject of the Count will force me to speak", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "“For ah! the very night before,\n No prudent guard upon her,\nThe Count he gave her oaths a score,\n And took in change her honour.\n\n\nMORAL.", "BARON.\nPsha! I want to know if you can love the Count. You saw him at the last\nball we were at in France: when he capered round you; when he danced", "_Enter_ AMELIA.\n\n\nAMELIA.\nI heard the Count leave you, my Lord, and so I am come to enquire——", "_bows._] The Count wants a little of my daughter’s simplicity and\nsensibility.—Take him under your care while he is here, and make him", "BARON.\n[_confused_]. Perhaps he did.\n\nCOUNT.\nAnd was merry with his friends; and his friends as fond of him as ever?", "admitted to his confidence, than he related to me your story; and at\ntimes would exclaim in anguish—“The proud imperious Baroness avenges", "COUNT.\nThere are other things—Song, dance, the opera, and war.\n\n[_Since the entrance of the_ Count _the_ Baron _has removed to a table\nat a little distance._" ], [ "FREDERICK.\n[_starting_]. I—I see the Baron! I!—I supplicate for my", "FREDERICK.\nI thank you for this information; and if you will undertake to procure\nme a private interview with Baron Wildenhaim——", "FREDERICK.\n[_to the Baron_]. Have pity, noble Sir, and relieve the distress of an\nunfortunate son, who supplicates for his dying mother.", "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "BARON.\nYoung man! Frederick!—[_calling after him_.] Hasty indeed! would make", "BARON.\n[_calling_]. Here! here! seize and secure him.\n\n[_Some of the Gamekeepers run on, lay hold of_ Frederick, _and disarm\nhim._]", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "FREDERICK.\nBaron Wildenhaim!—Almighty powers!\n\nAMELIA.\nWhat’s the matter?", "FREDERICK.\nIn what capacity?—As your domestic—or as——\n\nBARON.\nThat we will settle afterwards.", "FREDERICK.\nBaron Wildenhaim! I shall never forget it.—Oh! you are near fainting.\nYour eyes are cast down. What’s the matter? Speak, mother!", "BARON.\nTake him away, and imprison him where I told you.\n\nFREDERICK.\n[_as he is forced off by the keepers_]. Woe to that man to whom I owe\nmy birth! [_Exit._", "BARON.\n[_haughtily to_ Frederick]. I know, young man, you plead your mother’s", "FREDERICK.\nProceed, proceed! give me full information—I will have courage to hear\nit all. [_Greatly agitated._]", "AGATHA.\nHow is my Frederick? How did the Baron receive him?", "FREDERICK.\nMy father’s cruelty.\n\nBARON.\nYou have a father then?", "BARON.\n[_surprised_]. Not enough!\n\nFREDERICK.\nNo, it is not enough.\n\nCOUNT.\nThe most singular beggar I ever met in all my travels.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "BARON.\nAnd with all those great qualities, abandons you?\n\nFREDERICK.\nHe does, with all the qualities I mention." ], [ "BARON.\n“Friend, wish me joy—I will _marry_ Agatha.”\n\nMR. ANHALT.\nI do wish you joy.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "AGATHA.\nBaron Wildenhaim?\n\nWIFE.\nYes, Baron Wildenhaim.\n\nAGATHA.\nAnd his lady?", "MR. ANHALT.\n[_forcibly_]. Marry her.\n\nBARON.\n[_starting_]. I marry her!", "BARON.\nAgatha, Agatha, do you know this voice?\n\nAGATHA.\nWildenhaim.\n\nBARON.\nCan you forgive me?", "WIFE.\n[_addressing her discourse to_ Agatha.] By all accounts the Baroness\nwas very haughty; and very whimsical.", "BARON.\nMy obligations to you are infinite—Amelia shall pay the debt. [_Gives\nher to him_.]", "WIFE.\n[_to_ Agatha.] This young man being tutor in our Baron’s family, he was\nvery much beloved by them all; and so the Baron gave him this living in\nconsequence.", "BARON.\nWell, then, this is the wedding-day. This very evening you shall give\nus your blessing.", "BARON.\nI shall not command, neither persuade her to the marriage—I know too\nwell the fatal influence of parents on such a subject. Objections to be", "AMELIA.\n[_after another pause_]. I should like to marry. [_sighing_.]\n\nBARON.\nSo you shall [_a pause_]. It is proper for every body to marry.", "BARON.\n[_sitting down, and trying to compose himself_]. You are not to marry\ncount Cassel—And now, mention his name to me no more.", "BARON.\nAs quiet as an infant’s. I only wish the first interview was over.\n\nMR. ANHALT.\nCompose yourself. Agatha’s heart is to be your judge.", "MR. ANHALT.\nDoes he? [_hastily_] But believe me, the Baron will not persuade\nyou—No, I am sure he will not.\n\nAMELIA.\nI know that.", "BARON.\nWould you have me marry a beggar?\n\nMR. ANHALT.\n[_after a pause_]. Is that your only objection?", "[_He looks stedfastly at the door_—Anhalt _leads on_ Agatha—_The_ Baron", "AGATHA.\nMy son? what of my son?\n\nMR. ANHALT.\nDo not be alarmed—The Baron met with an affectionate son, who begged\nfor his sick mother, and it affected him.", "AGATHA.\nI go to the Baron’s?—No.\n\nMR. ANHALT.\nGo for the sake of your son—reflect, that his fortunes may depend upon\nyour presence.", "AGATHA.\nBegged of the Baron! of his father!\n\nMR. ANHALT.\nYes; but they did not know each other; and the mother received the\npresent on the son’s account.", "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?" ], [ "AMELIA.\nYou may tell my father—I’ll marry. [_Rises._]", "AMELIA.\nYes, I know.\n\nMR. ANHALT.\nAnd do you know for what reason?\n\nAMELIA.\nHe wishes to marry me.", "AMELIA.\n[_after another pause_]. I should like to marry. [_sighing_.]\n\nBARON.\nSo you shall [_a pause_]. It is proper for every body to marry.", "BARON.\nMy obligations to you are infinite—Amelia shall pay the debt. [_Gives\nher to him_.]", "AMELIA.\nYes, my Lord.\n\nBARON.\nRespecting matrimony?\n\nAMELIA.\nYes; and I have told him ——", "AMELIA.\nHe came to me by your command, to examine my heart respecting Count\nCassel. I told him that I would never marry the Count.\n\nBARON.\nBut him?", "AMELIA.\nDear father! I shall never be able to love another—Never be happy with\nany one else. [_Throwing herself on her knees_.]\n\nBARON.\nRise, I command you.", "AMELIA.\nHe said—he would not marry me without your consent for the world.\n\nBARON.\n[_starting from his chair_]. And pray, how came this the subject of\nyour conversation?", "AMELIA.\nI will not marry.\n\nMR. ANHALT.\nYou mean to say, you will not fall in love.", "AMELIA.\nI believe not.\n\nBARON.\nBut I think it proper to acquaint you he is rich, and of great\nconsequence: rich and of consequence; do you hear?", "AMELIA.\nA very proper subject from the man who has taught me love, and I accept\nthe proposal [_curtsying_].\n\nMR. ANHALT.\nAgain you misconceive and confound me.", "AMELIA.\nIt is my father’s will that I should marry—It is my father’s wish to", "AMELIA.\nWhy, then, does not Mr. Anhalt marry?\n\nBARON.\nYou must ask him that question yourself.\n\nAMELIA.\nI have.", "AMELIA.\nVery well.\n\nBARON.\nDo not you blush when I talk of him?\n\nAMELIA.\nNo.", "AMELIA.\nYes; and then he feels another gratitude towards me. What’s that?\n\nBARON.\nHas he told you so?\n\nAMELIA.\nYes.", "AMELIA.\nI said that birth and fortune were such old-fashioned things to me, I\ncared nothing about either: and that I had once heard my father\ndeclare, he should consult my happiness in marrying me, beyond any\nother consideration.", "AMELIA.\nWould it not be noble to make the daughter of his benefactor happy?\n\nBARON.\nBut when that daughter is a child, and thinks like a child——", "AMELIA.\nNo, not at all.—Oh yes—once. [_recollecting herself._]\n\nBARON.\nAh! Now it comes!", "AMELIA.\nDear father, have you not promised you will not thwart my affections\nwhen I marry, but suffer me to follow their dictates.\n\nBARON.\nCertainly.", "AMELIA.\nHere is a bottle of wine, and something to eat. [_Places the basket on\nthe table._] I have often heard my father say, that wine is quite a\ncordial to the heart." ], [ "FREDERICK.\nWhat is the matter? [_She bursts into tears._] For heaven’s sake,\nmother, tell me what’s the matter?\n\nAGATHA.\nYou have no certificate.", "FREDERICK.\nNo!\n\nAGATHA.\nNo.—The laws of Germany excluded you from being registered at your\nbirth—for—you are a natural son!", "FREDERICK.\nYes, mother.\n\nAGATHA.\nOh! oh!", "FREDERICK.\nYou have nothing to sue for; only explain this mystery.\n\nAGATHA.\nI will, I will. But—my tongue is locked with remorse and shame. You\nmust not look at me.", "FREDERICK.\n[_starts—after a pause_]. So!—And who is my father?\n\nAGATHA.\nOh Frederick, your wild looks are daggers to my heart. Another time.", "FREDERICK.\nBut my father all this time? [_mournfully_] I apprehend he died.\n\nAGATHA.\nNo—he married.", "AGATHA.\n[_presses him to her breast_]. Where could be found such another son?\n\nFREDERICK.\nBut tell me my father’s name, that I may know how to shun him.", "FREDERICK.\nDo you hear, mother—will you, mother? [Agatha _makes a sign with her\nhand as if she could not take any thing._] She will not. Is there no\ndoctor in this neighbourhood?", "AGATHA.\nNo, no, Frederick; your visit will make me so well, that I shall in a\nvery short time recover strength to work again; and you must return to", "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?", "AGATHA.\nBe patient, my dear Frederick. Since I see you, I am well. But I _have\nbeen_ very ill: so ill, that I despaired of ever beholding you again.", "FREDERICK.\n[_rapidly_]. No answer to these letters?\n\nAGATHA.\nNot a word.—But in time of war, you know, letters miscarry.", "FREDERICK.\nDon’t speak too much, mother.—Take your time.\n\nAGATHA.\nTell me, dear child, how you have passed the five years since you left\nme.", "AGATHA.\nI forgive you. [_embracing him_].\n\nFREDERICK.\n[_as he enters_]. I hear the voice of my mother!—Ha! mother! father!", "[_During his speech_ Agatha _is confused and agitated._\n\n\nAGATHA.\nSo, you are come for the purpose of fetching your certificate from the\nchurch-book.", "AGATHA.\nI cannot speak, dear son! [_Rising and embracing him._] My dear\nFrederick! The joy is too great—I was not prepared—", "[_She stretches her hand for the gift, looks steadfastly at him, and\ncries out with astonishment and joy._]\n\n\nAGATHA.\nFrederick!", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "AGATHA.\nHow is my Frederick? How did the Baron receive him?", "AGATHA.\nI thank you, my dear Frederick—Wine revives me—Wine from the hand of my\nson gives me almost a new life." ], [ "AGATHA.\nYou will turn a poor sick woman out of doors who has spent her last\nfarthing in your house.\n\nLANDLORD.\nFor that very reason; because she _has_ spent her last farthing.", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "AGATHA.\nGood bye. [_shaking hands with the Cottagers_.] For your hospitality to\nme, may ye enjoy continued happiness.\n\nCOTTAGER.\nFare you well—fare you well.", "woman has been obliged to beg. Why should not you? [Agatha _sits down\nupon a large stone under a tree._] For instance, here comes somebody;", "AGATHA.\nNo—since the death of his mother this castle has only been inhabited by\nservants—for he settled as far off as Alsace, upon the estate of his\nwife.", "AGATHA.\nThere was a time when I was as happy as this country girl, and as\nwilling to assist the poor in distress. [_Retires to the tree and sits\ndown._]", "AGATHA.\nI wish you would step out once more—I think he cannot be far off.\n\nCOTTAGER.\nI will; I will go. [_Exit_.", "_The_ LANDLORD _of the inn leads_ AGATHA _by the hand out of his\nhouse._", "[Agatha _faints._]\n\n\nCOTTAGER.\nSee here! Help! She is fainting—take hold!\n\nWIFE.\nOh, poor woman!", "FREDERICK.\nYou have nothing to sue for; only explain this mystery.\n\nAGATHA.\nI will, I will. But—my tongue is locked with remorse and shame. You\nmust not look at me.", "FREDERICK.\n[_to Agatha_]. You were hungry yesterday when I sat down to a\ncomfortable dinner. You were hungry when I partook of a good supper.\nOh! Why is so much bitter mixed with the joy of my return?", "Agatha, _who is leaning against the tree._] Who is that? A poor sick\nwoman! She don’t beg; but her appearance makes me think she is in want.", "AGATHA.\nWhen the time drew near that I could no longer conceal my guilt and\nshame, my seducer prevailed upon me not to expose him to the resentment", "LANDLORD.\nThen _you_ may come again.\n\nAGATHA.\nWhat am I to do? Where shall I go?", "WIFE.\nYes, I remember when he fell in love with poor Agatha, Friburg’s\ndaughter: what a piece of work that was—It did not do him much credit.\nThat was a wicked thing.", "AGATHA.\nYes, I am that unfortunate woman; and the man who pretends to take", "[_During his speech_ Agatha _is confused and agitated._\n\n\nAGATHA.\nSo, you are come for the purpose of fetching your certificate from the\nchurch-book.", "WIFE.\n[_addressing her discourse to_ Agatha.] By all accounts the Baroness\nwas very haughty; and very whimsical.", "LANDLORD.\nSick people eat but little.\n\nAGATHA.\nHard, unfeeling man, have pity.", "AGATHA.\nI can work.\n\nLANDLORD.\nYou can hardly move your hands.\n\nAGATHA.\nMy strength will come again." ], [ "AGATHA.\n[_to herself_]. I am astonished! I wonder! Oh! surely he has been\ninformed—Why else should he have sent so much money?\n\n_Re-enter_ Cottager.", "AGATHA.\nHow did he know I was here?\n\nWIFE.\nHeaven only can tell. The servant that brought the money was very\nsecret.", "Therefore thank Heaven that it is in your _power_ to redeem it. By\nmarrying Agatha the ransom’s made: and she brings a dower greater than", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "woman has been obliged to beg. Why should not you? [Agatha _sits down\nupon a large stone under a tree._] For instance, here comes somebody;", "MR. ANHALT.\nYou will be rewarded for it. [_to_ Agatha.] May I beg leave to ask your\nname?\n\nAGATHA.\nAh! If we were alone——", "AGATHA.\nI wish you would step out once more—I think he cannot be far off.\n\nCOTTAGER.\nI will; I will go. [_Exit_.", "AGATHA.\nThere was a time when I was as happy as this country girl, and as\nwilling to assist the poor in distress. [_Retires to the tree and sits\ndown._]", "AGATHA.\nWhen the time drew near that I could no longer conceal my guilt and\nshame, my seducer prevailed upon me not to expose him to the resentment", "AGATHA.\n“That you have been in search of!” Who gave you such a commission?\n\nMR. ANHALT.\nA man, who, if it so prove, is much concerned for your misfortunes.", "AGATHA.\nI can work.\n\nLANDLORD.\nYou can hardly move your hands.\n\nAGATHA.\nMy strength will come again.", "AGATHA.\nYes, I am that unfortunate woman; and the man who pretends to take", "[Agatha _rises and comes forward._]", "AGATHA.\nYou will turn a poor sick woman out of doors who has spent her last\nfarthing in your house.\n\nLANDLORD.\nFor that very reason; because she _has_ spent her last farthing.", "AGATHA.\nI forgive you. [_embracing him_].\n\nFREDERICK.\n[_as he enters_]. I hear the voice of my mother!—Ha! mother! father!", "COTTAGER.\nIf he should go to our parson, I am sure he would give him something.\n\n[Agatha _having revived by degrees during the scene, rises._]", "Agatha, _who is leaning against the tree._] Who is that? A poor sick\nwoman! She don’t beg; but her appearance makes me think she is in want.", "[_She stretches her hand for the gift, looks steadfastly at him, and\ncries out with astonishment and joy._]\n\n\nAGATHA.\nFrederick!", "AGATHA.\nNo, no, Frederick; your visit will make me so well, that I shall in a\nvery short time recover strength to work again; and you must return to", "AGATHA.\nWhen we parted five years ago, you were too young to be intrusted with\na secret of so much importance.—But the time is come when I can, in" ], [ "AGATHA.\n[_to herself_]. I am astonished! I wonder! Oh! surely he has been\ninformed—Why else should he have sent so much money?\n\n_Re-enter_ Cottager.", "AGATHA.\nHow did he know I was here?\n\nWIFE.\nHeaven only can tell. The servant that brought the money was very\nsecret.", "AGATHA.\nYes, I am that unfortunate woman; and the man who pretends to take", "Agatha, _who is leaning against the tree._] Who is that? A poor sick\nwoman! She don’t beg; but her appearance makes me think she is in want.", "MR. ANHALT.\nYou will be rewarded for it. [_to_ Agatha.] May I beg leave to ask your\nname?\n\nAGATHA.\nAh! If we were alone——", "AGATHA.\n“That you have been in search of!” Who gave you such a commission?\n\nMR. ANHALT.\nA man, who, if it so prove, is much concerned for your misfortunes.", "woman has been obliged to beg. Why should not you? [Agatha _sits down\nupon a large stone under a tree._] For instance, here comes somebody;", "BARON.\nAgatha, Agatha, do you know this voice?\n\nAGATHA.\nWildenhaim.\n\nBARON.\nCan you forgive me?", "AGATHA.\nI wish you would step out once more—I think he cannot be far off.\n\nCOTTAGER.\nI will; I will go. [_Exit_.", "[_She stretches her hand for the gift, looks steadfastly at him, and\ncries out with astonishment and joy._]\n\n\nAGATHA.\nFrederick!", "MR. ANHALT.\nBe patient—I give you my word, that when the Baron sent this present to\nan unfortunate woman, for whom her son had supplicated, he did not know\nthat woman was Agatha.", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "AGATHA.\nWhen the time drew near that I could no longer conceal my guilt and\nshame, my seducer prevailed upon me not to expose him to the resentment", "[Agatha _rises and comes forward._]", "AGATHA.\nBefore I tell you who I am, what I am, and what I was——I must beg to\nask—Are you of this country?", "AGATHA.\nHow? Oh, Sir! tell me quickly—Whom do you think to find in me?\n\nMR. ANHALT.\nAgatha Friburg.", "Therefore thank Heaven that it is in your _power_ to redeem it. By\nmarrying Agatha the ransom’s made: and she brings a dower greater than", "COTTAGER.\nIf he should go to our parson, I am sure he would give him something.\n\n[Agatha _having revived by degrees during the scene, rises._]", "AGATHA.\n[_presses him to her breast_]. Where could be found such another son?\n\nFREDERICK.\nBut tell me my father’s name, that I may know how to shun him.", "AGATHA.\nThere was a time when I was as happy as this country girl, and as\nwilling to assist the poor in distress. [_Retires to the tree and sits\ndown._]" ], [ "these, I trust, I shall return, as a man whose views are solely placed\non a future world; all hopes in this, with fortitude resigned. [_Exit._", "ACT V.\n\nSCENE I.\n\n_Inside of the Cottage (as in Act II)._", "for a breakfast—the other remains for my dinner; and in the evening I\nshall be home. [_Calls out_] Ha! Halloo! Landlord! [_Takes notice of_", "ACT II.\n\nSCENE I.\n\n_A room in the Cottage._", "had made of repentance and amendment. I _have_ fulfilled it—and now,\nFrederick, you may look at me again. [_He embraces her._]", "BARON.\n[_calls after him_]. I shall expect you in my closet. I am going there\nimmediately. [_Retiring towards the opposite door._]", "AGATHA.\nI wish you would step out once more—I think he cannot be far off.\n\nCOTTAGER.\nI will; I will go. [_Exit_.", "ACT I\nScene I. A high road, a town at a distance—A small inn on one side of the road—A cottage on the other.", "FREDERICK.\nI did not consider that we have been all this time in the open road.\n[_Goes to the Inn, and knocks at the door._] Here, Landlord!", "ACT II\nScene I. A room in the Cottage.\nScene II. An apartment in the Castle.\n\nACT III\nScene I. An open Field.\nScene II. A room in the Castle.", "again. [_Goes off in haste and confusion._]", "AGATHA.\n[_to herself_]. I am astonished! I wonder! Oh! surely he has been\ninformed—Why else should he have sent so much money?\n\n_Re-enter_ Cottager.", "COTTAGER.\nIt is of no use. I have been in the road; have looked up and down; but\nneither see nor hear any thing of him.\n\nWIFE.\nHave a little patience.", "BARON.\nStop! Let me first recover a little. [_Walks up and down, sighing", "BARON.\nHas not Count Cassel left his chamber yet?\n\nGENTLEMAN.\nNo, my lord, he has but now rung for his valet.", "“I must have made an elegy,\nAnd not this fine narration.” [_Exit._\n\n\n\n\nACT IV.\n\nSCENE I.", "heart? Ah! see—[_looking after him_]—He flies from the castle—Who’s\nthere? Where are my attendants? [_Enter two servants_]. Follow", "ACT IV\nScene I. A Prison in one of the Towers of the Castle.\nScene II. A Room in the Castle.\n\nACT V\nScene I. Inside of the Cottage.\nScene II. A Room in the Castle.", "BUTLER.\nOne of the gamekeepers has returned to inform the whole castle of a\nbase and knavish trick, of which the world will talk, and my poetry\nhand down to posterity.", "FREDERICK.\n[_hearing the door open, and turning around_]. Who’s there?\n\nAMELIA.\nYou must be hungry and thirsty, I fear." ], [ "BARON.\nAgatha, Agatha, do you know this voice?\n\nAGATHA.\nWildenhaim.\n\nBARON.\nCan you forgive me?", "BARON.\nAs quiet as an infant’s. I only wish the first interview was over.\n\nMR. ANHALT.\nCompose yourself. Agatha’s heart is to be your judge.", "AGATHA.\nBaron Wildenhaim?\n\nWIFE.\nYes, Baron Wildenhaim.\n\nAGATHA.\nAnd his lady?", "MR. ANHALT.\nBe patient—I give you my word, that when the Baron sent this present to\nan unfortunate woman, for whom her son had supplicated, he did not know\nthat woman was Agatha.", "AGATHA.\nA woman of virtue—of noble birth and immense fortune. Yet, [_weeps_] I\nhad written to him many times; had described your infant innocence and", "WIFE.\n[_addressing her discourse to_ Agatha.] By all accounts the Baroness\nwas very haughty; and very whimsical.", "WIFE.\n[_to_ Agatha.] This young man being tutor in our Baron’s family, he was\nvery much beloved by them all; and so the Baron gave him this living in\nconsequence.", "AGATHA.\nMy son? what of my son?\n\nMR. ANHALT.\nDo not be alarmed—The Baron met with an affectionate son, who begged\nfor his sick mother, and it affected him.", "AGATHA.\nHow is my Frederick? How did the Baron receive him?", "AGATHA.\nBegged of the Baron! of his father!\n\nMR. ANHALT.\nYes; but they did not know each other; and the mother received the\npresent on the son’s account.", "admitted to his confidence, than he related to me your story; and at\ntimes would exclaim in anguish—“The proud imperious Baroness avenges", "BARON.\nCertainly. [Butler _appears uneasy and loath to speak._] Amelia, he\ndoes not like to divulge what he knows in presence of a third", "BARON.\nAre you sure the Butler said this?\n\nAMELIA.\nSee him and ask him. He knows the whole story, indeed he does; the\nnames of the persons, and every circumstance.", "BARON.\n“Friend, wish me joy—I will _marry_ Agatha.”\n\nMR. ANHALT.\nI do wish you joy.", "AGATHA.\nI go to the Baron’s?—No.\n\nMR. ANHALT.\nGo for the sake of your son—reflect, that his fortunes may depend upon\nyour presence.", "AGATHA.\nWhen we parted five years ago, you were too young to be intrusted with\na secret of so much importance.—But the time is come when I can, in", "COTTAGER.\nOur Baron’s daughter.\n\nAGATHA.\nIs she here?", "BARON.\nShe shall live in peace and affluence. Do you think I would leave your\nmother unprovided, unprotected? No! About a mile from this castle I", "AGATHA.\nBaron Wildenhaim.", "BARON.\nAnd what did he say?\n\nAMELIA.\nWill you give me leave to tell you what he said?\n\nBARON.\nCertainly." ], [ "COUNT.\nThere are other things—Song, dance, the opera, and war.\n\n[_Since the entrance of the_ Count _the_ Baron _has removed to a table\nat a little distance._", "BARON.\nQuick, quick, Count! Aye, aye, that was a blunder indeed. Don’t you see", "COUNT.\nI obey—And let me assure you, my Lord, that, although, from the extreme\ndelicacy of your honour, you have ever through life shuddered at", "AMELIA.\nAy, if you only intended to frighten them, the Count was the very\nperson for your purpose. But you caught hold of the other\ngentleman.—And could you hope to intimidate Baron Wildenhaim?", "COUNT.\nAh, my dear Colonel! Miss Wildenhaim, I kiss your hand.\n\nBARON.\nGood morning! Good morning! though it is late in the day, Count. In the\ncountry we should rise earlier.", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "’tis for other men at times to remember. But in plain truth, my Lord,\nthe Count was treacherous, cruel, forsworn.", "COUNT.\nWho is Mr. Anhalt?\n\nAMELIA.\nOh, a very good man. [_With warmth._]", "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?", "COUNT.\nWhy, then, after all, Baron, your villain is a mighty good, prudent,\nhonest fellow; and I have no objection to your giving me that name.", "COUNT.\nWhat can be the cause?\n\nBARON.\nI’ll not keep you in doubt a moment. You are accused, young man, of\nbeing engaged to another woman while you offer marriage to my child.", "COUNT.\nYou are singularly scrupulous. I question if the man thought himself\nso.\n\nBARON.\nYes he did.\n\nCOUNT.\nHow do you know?", "BARON.\nHas not Count Cassel left his chamber yet?\n\nGENTLEMAN.\nNo, my lord, he has but now rung for his valet.", "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "BARON.\nPsha! I want to know if you can love the Count. You saw him at the last\nball we were at in France: when he capered round you; when he danced", "BARON.\n[_hesitating_]. I have heard him say so.\n\nCOUNT.\nBut he ate, drank, and slept, I suppose?", "_Enter_ AMELIA.\n\n\nAMELIA.\nI heard the Count leave you, my Lord, and so I am come to enquire——", "_bows._] The Count wants a little of my daughter’s simplicity and\nsensibility.—Take him under your care while he is here, and make him", "COUNT.\nBut nothing new.\n\nBARON.\n[_faintly_]. Yes—I hope—I hope it is new.", "COUNT.\nWhat, did you never meet with such a thing before?\n\nBARON.\n[_agitated_]. If I have—I pronounced the man who so offended—a villain." ], [ "BARON.\n[_calling_]. Here! here! seize and secure him.\n\n[_Some of the Gamekeepers run on, lay hold of_ Frederick, _and disarm\nhim._]", "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "BARON.\nHe is; but I verily believe for the first and last time. A most\nextraordinary event, Mr. Anhalt This young man begged; then drew his", "BARON.\nQuick, quick, Count! Aye, aye, that was a blunder indeed. Don’t you see", "BARON.\n[_starts—recollects himself—then in a faultering voice_].\nYet—nevertheless—the act is so atrocious—", "BARON.\nShe shall live in peace and affluence. Do you think I would leave your\nmother unprovided, unprotected? No! About a mile from this castle I", "BARON.\nI’ll tell you in a few words why I sent for you. Count Cassel is here,\nand wishes to marry my daughter.\n\nMR. ANHALT.\n[_much concerned_]. Really!", "BARON.\nHe is—he—in a word I don’t like him.\n\nMR. ANHALT.\n[_with emotion_]. And Miss Wildenhaim ——", "The youth then drew his martial knife,\n And seiz’d the Baron’s collar,\nHe swore he’d have the Baron’s life,\n Or else another dollar.", "BARON.\n[_sitting down, and trying to compose himself_]. You are not to marry\ncount Cassel—And now, mention his name to me no more.", "BARON.\nDesist—barbarian, savage, stop!\n\n_Enter_ Anhalt _alarmed._", "BARON.\n[_to himself_]. He touches my heart.", "brought against him, was not permitted to look up—it is a doubt whom we\nmight not meet crawling on all fours. [_he accidently taps the Baron’s\nshoulder._]", "BARON.\n[_calls another Keeper_]. Here, Frank, run directly to yonder hamlet,\ninquire in the first, second, and third cottage for a poor sick", "MR. ANHALT.\n[_aside_]. Hardly worse than I do.\n\n_Enter the_ BARON.", "[_Baron, in great agitation, walks backwards and forwards, then takes_\nAnhalt _by the hand_.]", "BARON.\nAnd his mother shall live in happiness—My estate, Weldendorf, shall be", "BARON.\nBelieve me, this burthen presses on my thoughts so much, that many\nnights I go without sleep. A man is sometimes tempted to commit such", "BARON.\n[_surprised_]. Not enough!\n\nFREDERICK.\nNo, it is not enough.\n\nCOUNT.\nThe most singular beggar I ever met in all my travels.", "BARON.\nWhere is she?\n\nMR. ANHALT.\nIn the castle—in my apartments here—I conducted her through the garden,\nto avoid curiosity." ], [ "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "AMELIA.\nWhy, then, does not Mr. Anhalt marry?\n\nBARON.\nYou must ask him that question yourself.\n\nAMELIA.\nI have.", "MR. ANHALT.\n[_very hastily_]. According to your commands, Baron ——\n\nAMELIA.\nBut he has conjured me ——", "AMELIA.\nOh no! my lord, have pity on him! Plead for him, Mr. Anhalt!\n\nBARON.\nAmelia, have you had any conversation with Mr. Anhalt?", "MR. ANHALT.\nThis is nothing to the subject.\n\nAMELIA.\nWhat is the subject?\n\nMR. ANHALT.\n—— Love.", "MR. ANHALT.\nDoes he? [_hastily_] But believe me, the Baron will not persuade\nyou—No, I am sure he will not.\n\nAMELIA.\nI know that.", "AMELIA.\nYes, I know.\n\nMR. ANHALT.\nAnd do you know for what reason?\n\nAMELIA.\nHe wishes to marry me.", "MR. ANHALT.\n[_to himself_] Oh! Heavens!—[_to_ Amelia]. I—I come from your father", "COUNT.\nWho is Mr. Anhalt?\n\nAMELIA.\nOh, a very good man. [_With warmth._]", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "MR. ANHALT.\nI—I—me—I—I am out of the question.\n\nAMELIA.\nNo; you are the very person to whom I have put the question.", "MR. ANHALT.\nWhat do you mean?\n\nAMELIA.\nI am glad you don’t understand me. I was afraid I had spoken too plain.\n[_in confusion_].", "AMELIA.\n[_as she retires_]. Good morning, Mr. Anhalt.—I hope you are very well.\n[_Exit._", "MR. ANHALT.\nHe wishes that I should ascertain whether you have an inclination ——\n\nAMELIA.\nFor the Count, or for matrimony do you mean?", "MR. ANHALT.\nNever mind, Miss Wildenhaim—I don’t dislike to hear you call me as you\ndid.\n\nAMELIA.\nIn earnest?", "[_Baron, in great agitation, walks backwards and forwards, then takes_\nAnhalt _by the hand_.]", "AMELIA.\nA very proper subject from the man who has taught me love, and I accept\nthe proposal [_curtsying_].\n\nMR. ANHALT.\nAgain you misconceive and confound me.", "MR. ANHALT.\nI think myself amply rewarded by the good opinion you have of me.\n\nAMELIA.\nWhen I remember what trouble I have sometimes given you, I cannot be\ntoo grateful.", "MR. ANHALT.\nFor that very reason I am sent to you to explain the good and the bad\nof which matrimony is composed.\n\nAMELIA.\nThen I beg first to be acquainted with the good.", "BARON.\nAnd what did he say?\n\nAMELIA.\nWill you give me leave to tell you what he said?\n\nBARON.\nCertainly." ], [ "AMELIA.\nHe has commanded me never to conceal or disguise the truth. I will\npropose it to him. The subject of the Count will force me to speak", "AMELIA.\nHe came to me by your command, to examine my heart respecting Count\nCassel. I told him that I would never marry the Count.\n\nBARON.\nBut him?", "AMELIA.\nOh no! [_ashamed_] I am in love.\n\nMR. ANHALT.\nAre in love! [_starting_] And with the Count?", "AMELIA.\nTo make me hate him.\n\nBARON.\nWhat has he done?\n\nAMELIA.\nOh! told me of such barbarous deeds he has committed.", "BARON.\nCertainly. [Butler _appears uneasy and loath to speak._] Amelia, he\ndoes not like to divulge what he knows in presence of a third", "BARON.\nMy dear Amelia, I think it scarcely necessary to speak to Mr. Anhalt,\nor that he should speak to you, on the subject of the Count; but as he\nis here, leave us alone.", "_Enter_ AMELIA.\n\n\nAMELIA.\nI heard the Count leave you, my Lord, and so I am come to enquire——", "BARON.\nAmelia, you know you have a father who loves you, and I believe you\nknow you have a suitor who is come to ask permission to love you. Tell\nme candidly how you like Count Cassel?", "COUNT.\nI fly.—Beautiful Amelia, it is a sacrifice I make to your father, that\nI leave for a few hours his amiable daughter. [_Exit._", "BARON.\nI take you at your word—And now reply to me truly—Do you like to hear\nthe Count spoken of?\n\nAMELIA.\nGood, or bad?", "AMELIA.\nYes, my Lord.\n\nBARON.\nRespecting matrimony?\n\nAMELIA.\nYes; and I have told him ——", "AMELIA.\nAnd I thought not—Or, if you had murdered any one, you had better have\nkilled the Count; nobody would have missed him.", "AMELIA.\nAnd what is substituted in its stead?\n\nCOUNT.\nIntrigue.\n\nAMELIA.\nWhat a poor, uncomfortable substitute!", "AMELIA.\nWhy, then—you know you commanded me never to disguise or conceal the\ntruth.\n\nBARON.\nI did so.", "AMELIA.\nIndeed, my Lord, in one respect I am sure he speaks truth. For our old\nButler told my waiting-maid of a poor young creature who has been", "AMELIA.\nYes; and then he feels another gratitude towards me. What’s that?\n\nBARON.\nHas he told you so?\n\nAMELIA.\nYes.", "BARON.\nWhat deeds?\n\nAMELIA.\nMade vows of love to so many women, that, on his marriage with me, a\nhundred female hearts will at least be broken.", "AMELIA.\nI never liked the Count.\n\nBARON.\nNo more did I.", "BARON.\nAnd what did he say?\n\nAMELIA.\nWill you give me leave to tell you what he said?\n\nBARON.\nCertainly.", "AMELIA.\nVery well.\n\nBARON.\nDo not you blush when I talk of him?\n\nAMELIA.\nNo." ], [ "BARON.\n[_shuddering_]. Who is he?\n\nFREDERICK.\nBaron Wildenhaim.", "_A Room in the Castle._\n\n\nBARON _sitting upon a sopha_.—FREDERICK _standing near him, with one\nhand pressed between his—the_ Baron _rises_.", "FREDERICK.\n[_starting_]. I—I see the Baron! I!—I supplicate for my", "FREDERICK.\nYes; I have done what it was your place to do. I have made a sinner\ntremble [_points to the_ Baron _and exit_.]", "FREDERICK.\nWhat have I done!\n\nBARON.\nTake him to the castle, and confine him in one of the towers. I shall\nfollow you immediately.", "BARON.\nYoung man! Frederick!—[_calling after him_.] Hasty indeed! would make", "FREDERICK.\nI thank you for this information; and if you will undertake to procure\nme a private interview with Baron Wildenhaim——", "BARON.\n[_calling_]. Here! here! seize and secure him.\n\n[_Some of the Gamekeepers run on, lay hold of_ Frederick, _and disarm\nhim._]", "FREDERICK.\nThe man to whose breast I held my sword——[_trembling_].\n\nAMELIA.\nWas Baron Wildenhaim—the owner of this estate—my father!", "FREDERICK.\n[_to the Baron_]. Have pity, noble Sir, and relieve the distress of an\nunfortunate son, who supplicates for his dying mother.", "FREDERICK.\nIn what capacity?—As your domestic—or as——\n\nBARON.\nThat we will settle afterwards.", "BARON.\n[_haughtily to_ Frederick]. I know, young man, you plead your mother’s", "BARON.\nWhere is she?\n\nMR. ANHALT.\nIn the castle—in my apartments here—I conducted her through the garden,\nto avoid curiosity.", "BARON.\nTake him away, and imprison him where I told you.\n\nFREDERICK.\n[_as he is forced off by the keepers_]. Woe to that man to whom I owe\nmy birth! [_Exit._", "MR. ANHALT.\nI shall obey your commands. [_He goes to door, and re-enters with_\nFrederick. Anhalt _then retires at the same door_.]", "BARON.\nWell, bring him in, and do you wait in the adjoining room, till our\nconference is over. I must then, Sir, have a conference with you.", "FREDERICK.\nBaron Wildenhaim!—Almighty powers!\n\nAMELIA.\nWhat’s the matter?", "FREDERICK.\nBaron Wildenhaim! I shall never forget it.—Oh! you are near fainting.\nYour eyes are cast down. What’s the matter? Speak, mother!", "BARON.\nAre you sure the Butler said this?\n\nAMELIA.\nSee him and ask him. He knows the whole story, indeed he does; the\nnames of the persons, and every circumstance.", "AGATHA.\nHow is my Frederick? How did the Baron receive him?" ] ]

[ "What is Frederick and Agatha's relationship?", "Why has Frederick returned?", "Who seduced Agatha at 17?", "What is Baron Wildenhaim's status in Act II?", "Who does the Baron's daughter love instead of Count Cassel?", "Why was Frederick arrested in Act III?", "Who doe Frederick and Anhalt insist that Agatha must marry?", "Why does the Baron initially not want Agatha to marry Anhalt?", "Who reveals the news of Frederick's attack on the Baron?", "Who is Frederick's father?", "In the beginning of the story, what promise had Baron Wildenhaim made to Agatha?", "Whom is Amelia in love with?", "After failing to get money by begging, what does Frederick to do get money?", "Who asks Anhalt to speak to Amelia about marriage?", "How does the Count react when confronted about his indiscretions?", "What news does Frederick have for the Baron?", "Which characters insist that the Baron marry Agatha?", "At the end of the story, whom does Amelia marry?", "What does Agatha tell Frederick about his birth certificate?", "Why is agatha ejected from her inn?", "Who offeres money to Agatha?", "Who does Agatha recognize the person offering money to her as?", "What has the man returned to find in Act I ?", "Who tells Agatha the history of Baron?", "What is the Count's name?", "Who tries to rob the Baron?", "What does Anhalt speak to Amelia about?", "Who does Amelia reveal information about the Count's immorality to?", "Who tells the Baron which room Frederick is in?" ]

[ [ "Mother and son, separated for five years.", "son and mother" ], [ "To find his birth certificate to get a job.", "To find his birth certificate" ], [ "Baron Wildenhaim.", "It was Baron Wildenheim" ], [ "Widowed and has a daughter.", "widowed" ], [ "Anhalt.", "Anhalt" ], [ "He tried to rob Baron and the Count.", "He attempted to rob the Baron" ], [ "Frederick.", "the Baron" ], [ "Because he is a poor clergyman.", "He wants to make an example of Agatha" ], [ "Verdun, a butler.", "Verdun" ], [ "Baron Wildenhaim", "Baron Wildenhaim" ], [ "to marry her", "To marry her." ], [ "Anhalt", "Anhalt" ], [ "he tries to rob the Baron", "He attempts to rob the Baron" ], [ "the Baron", "Anhalt" ], [ "He says he is a man of the world.", "He said that many men have done in the same way." ], [ "The Baron is his father.", "Who he and Agatha are to the Baron." ], [ "Frederick and Anhalt", "Anhalt and Fredrick" ], [ "Anhalt", "Anhalt" ], [ "There is no birth certificate.", "There is no birth certificate." ], [ "Her money ran out.", "Her money ran out." ], [ "Frederick", "Frederick" ], [ "Her son", "As her son." ], [ "Birth Certificate", "His mother" ], [ "Cottagers", "the cottagers" ], [ "Cassel", "Cassel" ], [ "Frederick", "Frederick" ], [ "Matrimony", "About matrimony." ], [ "Her father", "her father" ], [ "Anhalt", "Anhalt did" ] ]

[ [ "'I AM engaged,' replied John, with some reluctance; 'but the matter on\nwhich I am engaged is one, to say the truth, more immediately demanding\nyour knowledge than mine.'\n\n'Indeed!' cried Martin.", "'I apprehend you are engaged,' said Martin, when Tom had announced the\npurport of their visit. 'If you will allow me to come again at your own\ntime, I shall be glad to do so.'", "'I have no such intention, I assure you,' retorted Martin, releasing his\narm and stopping.\n\n'You oblige me very much' said Mr Tigg. 'Thank you.'", "'What do you mean?' demanded Martin, sternly. 'Do you know he is the son\nof the old man of whom you have spoken?'\n\n'I do,' he answered.", "'If it be odd in me to desire to know whether you love the young man\nwhom I understand you are to marry, I AM very odd,' said Martin. 'For\nthat is certainly my wish.'", "'Well, sir,' resumed Martin, stirring the fire once more, and drawing\nhis chair still closer to it, 'his selfishness makes him exacting,", "'Why, not so much on that account, if the truth must be spoken,'\nreturned Martin, 'as because my grandfather has an inveterate dislike to", "from Martin to his grandfather, requesting leave to wait upon him for a\nfew minutes. And postponing as he went along the congratulations of his\nnumerous friends until a more convenient season, he soon arrived at Mr", "'I came here,' said Martin; 'and I appeal to your good sister to hear\nme--'\n\n'Not to her,' interrupted Tom. 'Pray, do not appeal to her. She will\nnever believe you.'", "He said this so pointedly, that Martin stopped in his eating, and said:\n\n'If you mean me--'\n\n'Yes, I do, sir,' interposed Mark.", "As soon as he was well enough to talk without fatigue, Martin consulted\nhim upon a project he had in his mind, and which a few months back he\nwould have carried into execution without troubling anybody's head but\nhis own.", "expectation of seeing her betrothed, she was not a little surprised to\nsee old Martin instead. Her surprise was not diminished when he took his\nseat upon the turf beside her, and opened a conversation thus:", "Martin stopped here, for he saw that the ladies regarded him with no\nvery great favour, though what he had done to deserve the disdainful", "'By her own choice and free consent, my love, she is betrothed to\nMartin; and was, long before either of them knew of my existence. You\nwould have her betrothed to me?'", "'Mine was a more selfish motive,' said Martin, looking out again. 'I was\nafraid you were going to--'\n\n'I can calc'late my distance, sir,' returned Mr Chollop, 'to an inch.'", "'Yes!' said Martin, after a short silence. 'I know that, Mark.'\n\nHe spoke so regretfully that his partner abandoned the theme, and was\nsilent for a short time until he had thought of another.", "of their other halves by a nod; and there was an end of THEM. Martin\nthought this an uncomfortable custom, but he kept his opinion to himself\nfor the present, being anxious to hear, and inform himself by, the", "'No,' said Martin, shaking his head sorrowfully: 'I am past that.'\n\n'But if you're past that already,' returned Mark, 'you must be ill, and\nought to be attended to.'", "'Let it go on,' said Martin, rising. 'Let it go on! I sought to know\nyour mind, my dear, and you have shown it me. I wish you joy. Joy!' he", "'Your delicacy,' said old Martin, 'is troubled, I perceive. I am not\nsurprised to find it so. You have chosen the period of your marriage\nunfortunately.'" ], [ "Merry any more, or she (Charity) would positively be obliged to hate\nhim. Mercy, who really had her share of good humour, only retorted with", "Miss Mercy, as having the larger share of gaiety, bore up the best\nagainst this disappointment, and carried it off, in outward show at", "'Merry,' cried that more prudent damsel, 'really I am ashamed of you.\nHow can you go on so? You wild thing!' At which Miss Merry only laughed\nthe more, of course.", "'Oh, good gracious, Cherry!' cried Miss Mercy, holding up her hands with\nthe most winning giggle in the world, 'what a mercenary girl you are! oh\nyou naughty, thoughtful, prudent thing!'", "'Oh! But you are! You know you are!'\n\n'Mercy is a little giddy,' said Miss Charity. But she'll sober down in\ntime.'", "'Little differences!' cried Charity.\n\n'Little differences!' echoed Mercy.", "'Pinch him for me, Cherry, pray,' said Mercy. 'I never did hate anybody\nso much as I hate this creature, I declare!'", "Merry went to him.\n\n'Ah!' said the old man, patting her on the check. 'Here she is. Here she\nis! She's never hard on poor old Chuffey. Poor old Chuff!'", "Mr Pecksniff was a moral man--a grave man, a man of noble sentiments and\nspeech--and he had had her christened Mercy. Mercy! oh, what a charming", "name for such a pure-souled Being as the youngest Miss Pecksniff! Her\nsister's name was Charity. There was a good thing! Mercy and Charity!", "them, for it is my duty so to do!' And, oh, the gay simplicity of Mercy;\nso charming, innocent, and infant-like, that if she had gone out", "'Silly Merry!' said the eldest: Merry being fond for Mercy. 'What is the\npremium, Pa? tell us that.'", "'Oh, the creature!' cried Mercy. 'The idea of quarrelling for HIM! You\nmay take him, Cherry, my love, all to yourself. I make you a present of\nmy share.'", "One day the lively Merry, sitting with downcast eyes under a shady tree\nin the churchyard, whither she had retired after fatiguing herself by", "'Griffin!' cried Miss Mercy, in counterfeit amazement; 'what are you\ndoing, Griffin?'", "Merry, who had been sitting in the window, apart from Jonas and her\nsister, burst into a half-smothered laugh, and skipped towards the door.", "personal retort, wherein she was much comforted and abetted by her\nsister Mercy, who laughed at the same with great heartiness; indeed\nfar more naturally than life. And it being quite impossible that any", "pleasure to him to have her for his companion whenever he could, but\nbecause he wished her to cherish and comfort poor Merry; which she, for", "'Oh Pa!' cried Mercy, holding up her finger archly. 'See advertisement!'", "one' also, for he often glanced across at Mercy, and seemed to draw\ncomparisons between the personal appearance of the two, which were not\nunfavourable to the superior plumpness of the younger sister. He allowed" ], [ "It is due to Mr Tigg to say that he had really risen with his\nopportunities; and, peculating on a grander scale, he had become a\ngrander man altogether.", "Martin drew that piece of money from his pocket, and tossed it towards\nhim. Mr Tigg caught it, looked at it to assure himself of its goodness,", "'No! You surprise me!' cried Tigg. 'That's the cream of the thing sir. I\nnever knew that man fail to redeem a promise, in my life. You're not in\nwant of change, are you?'", "no longer Montague Tigg, but Tigg Montague; still it was Tigg; the same\nSatanic, gallant, military Tigg. The brass was burnished, lacquered,", "Mr Tigg was quite lost in admiration of this noble trait in his friend's\ncharacter; as he made known to Mr Pinch in a neat little ballet of\naction, spontaneously invented for the purpose.", "'He wants money, sorely!' cried Mr Tigg with excessive sympathy. 'David,\nwill you have the goodness to do your very utmost for my friend, who", "'A capital idea?' said Tigg, returning after a time to his companion's\nfirst remark; 'no doubt it was a capital idea. It was my idea.'", "'And devilish handsome, too,' cried Mr Tigg. 'Two-twelve-six for the\nwatch, and seven-and-six for personal regard. I am gratified; it may", "'Tigg!' cried Tom. 'Tigg! The gentleman who borrowed some money of me?'", "shop. The only comfort he had in the recollection was, Mr Tigg's\nvoluntary avowal of a separation between himself and Slyme, that would", "'No,' said Tigg. 'But we must bring him into contact with this sort of\nfellows.'\n\n'He was very fond of literature,' observed Wolf.\n\n'Was he?' said Tigg.", "'Its master has grown yellow in the service, if you mean that, my\nfriend,' said Mr Tigg; 'in the patriotic service of an ungrateful\ncountry. You are making it two-and-six, I think?'", "'So it is,' cried Tigg, kissing his hand in honour of the sex. 'You're\nquite right. Sweet, silly, fluttering little simpletons!'", "'That is a comfort,' Mr Tigg rejoined. 'Then,' he added, shielding his\nlips with the palm of his hand, and applying them close to Mr Pinch's\near, 'I have come for the letter.'", "Mr Slyme lost no time in disappearing, and it is to be presumed in going\nround the corner. Mr Tigg, planting his legs as wide apart as he could", "'Aye!' said Tigg, in the same tone. 'With a strong iron, perhaps. Has\nNadgett been here to-night?'\n\n'Yes. I went out to him. Hearing you had company, he went away.'", "'Oh!' said Tigg, smoothing his moustache, as he cast his eyes upon the\nname. 'I recollect. No. He has not been here.'", "make a devilish comfortable little property out of him. Ha, ha, ha! I\ndrive B, in point of fact,' said Tigg, pointing to the cabriolet, 'and a", "by nodding his head solemnly at the end of each. When it had come to\na close for the second time, Mr Tigg sat himself down in a chair and\naddressed the young men as follows:", "'So it is,' said Martin. 'Very true. There was a fellow only a week or\nso ago--a Mr Tigg--who borrowed all the money he had, on a promise to" ], [ "'And so, Mark,' said Martin, looking at him with an anxious expression,\n'and so you are glad we have left New York far behind us, are you?'\n\n'Yes, sir,' said Mark. 'I am. Precious glad.'", "'Where!' repeated Martin. 'You don't suppose I am going to remain here,\ndo you?'\n\nThe imperturbable Mark confessed that he did.", "Martin off again to help bring up the chest. And all the way to the\nlanding-place and back, Mark talked incessantly; as if he would infuse", "affected it. Impatient, wet, and weary though they were, Martin and Mark\nwere overjoyed to see these old faces, and watched them with delighted", "With that, he fell into the rear to walk with Mark, while Martin and\nElijah Pogram went on to the National.\n\n'We've come back alive, you see!' said Mark.", "Often at night when Mark and Martin were alone, and lying down to sleep,\nthey spoke of home, familiar places, houses, roads, and people whom they", "Now, when Martin began to think of this, and to look at Mark as he lay\nthere; never reproaching him by so much as an expression of regret;", "While these confidences were interchanged between Tom Pinch and Mark,\nMartin and John Westlock were very differently engaged. They were no\nsooner left alone together than Martin said, with an effort he could not\ndisguise:", "Martin indeed was dangerously ill; very near his death. He lay in that\nstate many days, during which time Mark's poor friends, regardless of", "He addressed himself to Mark; because he saw that Martin, who wished\nhim to go, being already half-mad with feverish irritation, which the", "'Very well,' said Martin, wishing to change the theme. 'Having come to\nthat conclusion, Mark, perhaps you'll attend to me. The place to which", "'A short interview after such an absence!' said Martin, sorrowfully.\n'But we are well out of the house. We might have placed ourselves in a\nfalse position by remaining there, even so long, Mark.'", "Martin and Mark sat looking at the people as they passed, debating every\nnow and then what their first step should be.\n\n'We want to see Miss Mary, of course,' said Mark.", "They shook hands heartily and separated. As soon as Martin was left\nalone, the excitement of novelty and change which had sustained him", "'But for this faithful man,' said Martin, turning towards Mark, 'whom\nI first knew in this place, and who went away with me voluntarily, as", "'He's no more in England,' said Bill, 'if that's what you mean. He went\nto the U-nited States.'\n\n'Did he?' asked Martin, with sudden interest. 'When?'", "Tom laughed, and taking leave of his sister, hurried Mark and Martin out\ninto the street, and away to John Westlock's by the nearest road; for", "Martin, who had been fretting himself--quite unnecessarily, as Mark\nthought--during the whole of these proceedings, could no longer restrain", "Martin had nothing to express but gratitude, and so it was arranged.\nBut he went out of the room after Mark, and advised him to take their", "'Yes!' said Martin, after a short silence. 'I know that, Mark.'\n\nHe spoke so regretfully that his partner abandoned the theme, and was\nsilent for a short time until he had thought of another." ], [ "'I thought it best not to have a party,' said Tigg. 'You feel that?'\n\n'Why, what do you call this?' retorted Jonas. 'You don't mean to say you\ndo this every day, do you?'", "Jonas heard this with a sinking heart. He knew that they were on his\nheels, and felt that they were resolute to run him to destruction. Inch", "'Mr Jonas Chuzzlewit!'\n\n'I thought so,' Tigg retorted.\n\n'Shall I go?'", "man and the murderer; which he did with great effect. The bottle being\nemptied and the story done, Jonas was in precisely the same boisterous", "'Oh! I understand all about paid-up capitals, you know,' said Jonas.\n\n'You do?' cried Tigg, stopping short.\n\n'I should hope so.'", "'No,' said Tigg. 'But we must bring him into contact with this sort of\nfellows.'\n\n'He was very fond of literature,' observed Wolf.\n\n'Was he?' said Tigg.", "that Jonas, who had assailed him with such exceeding coarseness, should\nhave been sufficiently magnanimous to keep the secret of their quarrel;\nand that any train of circumstances should have led to the commission of", "Jonas said this offensively enough; for over and above the habitual\ndistrust of his character, it was in his nature to seek to revenge", "Tom, nevertheless, persisting in his intention, and opening his lips to\nspeak again, Jonas set upon him like a savage; and in the quickness and", "'I learn from our friend,' said Tigg, drawing his chair towards Jonas\nwith a winning ease of manner, 'that you have been thinking--'", "Jonas, in his vivacity, made a sudden sawing in the air, so close behind\nthe doctor's jugular that he turned quite red. Then Jonas (in the same\nstrange spirit of vivacity) burst into a loud discordant laugh.", "Mr Jonas withdrew his arm, and for a moment looked at her more like a\nmurderer than a lover. But he cleared his brow by degrees, and broke\nsilence with:\n\n'I say, Mel!'", "'There's some one dead,' he said, 'or dying; and I want to knows who it\nis. Go see, go see! Where's Jonas?'\n\n'In the country,' she replied.", "'Ecod!' cried Jonas, with a wild laugh. 'There's some fun in catching\nthat old hypocrite. I hate him. Shall I go to-night?'", "orders. He has been told,' said Tigg, raising his voice, 'not to lose\nsight of certain friends of ours, or to think that he has done with them\nby any means. He understands his business.'", "And yet all this was quite a secret. Mr Nadgett kept it to himself, and\nkept it close. Jonas had no more idea that Mr Nadgett's eyes were fixed", "Jonas was so dismayed and conscience-stricken, that he had not even\nhardihood enough to unclench the old man's hands with his own; but stood", "'You always were as selfish an old blade as need be,' said Jonas in a\nvoice too low for him to hear, and looking at him with an angry frown.", "Mr Crimple also departed on the business of the morning; and Jonas\nChuzzlewit and Tigg were left alone.", "They went down in that order. Whatever Jonas felt in reference to\nMontague; whatever sense he had of being caged, and barred, and trapped," ], [ "'Oh, good gracious, Cherry!' cried Miss Mercy, holding up her hands with\nthe most winning giggle in the world, 'what a mercenary girl you are! oh\nyou naughty, thoughtful, prudent thing!'", "'Very much so, indeed,' said Cherry, with a demureness of manner that\ngave a very disinterested character to her assent.", "'She has never heard of that, you may depend,' said Cherry, gathering up\nthe corners of her mouth, and nodding at Tom. 'I am far from sure that\nshe would bear you any mighty ill will for it, if she had.'", "than she is; and had she but the sterling qualities of Cherry, my young\nfriend!'", "'I have left him,' returned Tom. 'But it was perfectly understood on\nboth sides. It was not done clandestinely.'\n\n'Is he married?' asked Cherry, with a spasmodic shake of her chin.", "'I wish to have him!' exclaimed Cherry. 'I wish to have him, Pa!'\n\n'Then what are you making all this piece of work for,' retorted her\nfather, 'if you didn't wish to have him?'", "said Cherry; looking much more angry than ever. 'I pity her. I'm sorry\nfor her. I know the fate that's in store for her, with that Wretch.'", "and brought her back, after a short struggle in the passage which\nscandalized Miss Cherry very much.", "'Another home, papa,' said Cherry, with increasing stateliness 'Place me\nat Mrs Todgers's or somewhere, on an independent footing; but I will not\nlive here, if such is to be the case.'", "confidence), that in the case he had put; to wit, in the event of such\na man as he proposing for his daughter's hand, he would endow her with a\nfortune of four thousand pounds.", "adjuration as to go at once. But though he had the fair Cherry on his\narm, he could not help looking back at her sister, and exchanging some", "far from softening down or wearing out, rankled and festered in her\nheart--the gentle Cherry was in flat rebellion. She waged fierce war", "'Of course I do,' said Cherry.\n\n'You might have observed,' said Mrs Todgers, 'how he used to watch your\nsister; and that a kind of stony dumbness came over him whenever she was\nin company?'", "'Which money would, Tom,' he returned. 'Her worth! Oh, who could see her\nhere, and not love her! Who could know her, Tom, and not honour her! Who", "price, which underpaid you are, quite diff'rent. Harris had it done\nafore marriage at ten and six,\" she says, \"and wore it faithful next his", "Chuzzlewit for, and in consideration of, the trifling sum of sixpence,\ntook his wife under his arm and indignantly withdrew. This diversion, by", "'No,' said Cherry, 'I am not going to be married. Nobody is, that I know\nof. Hem! But I am not going to live with Papa. I have my reasons, but", "'Oh dear no!' cried Cherry, shaking her head. 'Oh no, Mrs Todgers. Thank\nyou. No! not for any consideration he could offer.'", "'Oh, the creature!' cried Mercy. 'The idea of quarrelling for HIM! You\nmay take him, Cherry, my love, all to yourself. I make you a present of\nmy share.'", "she possessed such information, it would ill become her to admit the\nexistence of any creature with such an unceremonious name in her family;\nfar less in the person of a beloved sister; 'whatever,' added Cherry" ], [ "This made the approach of poor little Ruth, by herself, one of the\nmost embarrassing of circumstances. There was Tom, manifesting extreme", "that were working in her breast. He turned away, and said to Ruth, that\nit was time for them to go.", "Pleasant little Ruth! Cheerful, tidy, bustling, quiet little Ruth! No\ndoll's house ever yielded greater delight to its young mistress, than", "and make her uneasy. Besides, they are particular people where she is,\nand it might have rendered her situation uncomfortable if she had had a\nvisit from a young man like John. Poor Ruth!'", "And there was a cloud on little Ruth that evening. Yes, indeed. When Tom\nwas looking in another direction, her bright eyes, stealing on towards", "They are the same as they were. My sister, my sweet companion, who makes\nthis place so dear, is she less devoted to me, Ruth, than she would", "'Why, bless my soul!' said Tom, looking at her with great pride, when\nthey had tenderly embraced each other, 'how altered you are Ruth! I", "Ruth thought of several things; such as his digestion, his tailor, his\nmother, and the like. But hesitating to give utterance to any one of\nthem, she refrained from expressing an opinion.", "By this time Ruth had got round on the farther side of her brother, and\nhad taken his arm. She was squeezing it now, as much as to say 'Are you\ngoing to stop here all day, you dear, old, blundering Tom?'", "Who so lively and cheerful as busy Ruth next morning! Her early tap at\nTom's door, and her light foot outside, would have been music to him", "'My dear,' returned that lady, dropping her voice, 'you are single,\nain't you?'\n\nRuth laughed blushed, and said 'Yes.'", "the mistress had not only bought them, but had ordered more, and that\nvery morning Ruth had made confession of these facts to Tom, and had\nhanded him the money in a little purse she had worked expressly for the", "There was no flour on Ruth's hands when she received them in the\ntriangular parlour, but there were pleasant smiles upon her face, and a", "Ruth nestled down beside him on her knees, and clasped her arms about\nhis neck.\n\n'No, Tom! No, no! Be comforted! Dear Tom!'", "to ladies, even when he was quite a boy. Ruth said, 'Oh! indeed!' She\ndidn't say anything else.", "know, that I have betrayed him. It will be set right through her, and he\nwill be very sorry for it. Our secret, Ruth, is our own, and lives and", "Ruth endeavoured to express some sense of her unbounded and flattering\nconfidence; and presumed that she was going to be married soon.", "It was even a pleasanter breakfast than usual; and it was always a\npleasant one. For little Ruth had now two pupils to attend, each three", "as those to influence you, pray. They don't exist, sir. She is not\nunprotected. She is ready to depart this instant. Ruth, my dear, get\nyour bonnet on!'", "In most of these morning excursions Ruth accompanied him. As their\nlandlord was always up and away at his business (whatever that might be," ], [ "By this time Ruth had got round on the farther side of her brother, and\nhad taken his arm. She was squeezing it now, as much as to say 'Are you\ngoing to stop here all day, you dear, old, blundering Tom?'", "They are the same as they were. My sister, my sweet companion, who makes\nthis place so dear, is she less devoted to me, Ruth, than she would", "Ruth thought of several things; such as his digestion, his tailor, his\nmother, and the like. But hesitating to give utterance to any one of\nthem, she refrained from expressing an opinion.", "Ruth's--whom thine eyes follow in the romp and dance; who, wondering\nsometimes to see thee look so thoughtful, runs to climb up on thy knee,", "know, that I have betrayed him. It will be set right through her, and he\nwill be very sorry for it. Our secret, Ruth, is our own, and lives and", "This made the approach of poor little Ruth, by herself, one of the\nmost embarrassing of circumstances. There was Tom, manifesting extreme", "And there was a cloud on little Ruth that evening. Yes, indeed. When Tom\nwas looking in another direction, her bright eyes, stealing on towards", "Ruth endeavoured to express some sense of her unbounded and flattering\nconfidence; and presumed that she was going to be married soon.", "Ruth intimated that, as far as she could judge, he was a very eligible\nswain.", "that were working in her breast. He turned away, and said to Ruth, that\nit was time for them to go.", "to ladies, even when he was quite a boy. Ruth said, 'Oh! indeed!' She\ndidn't say anything else.", "and his sister, little Ruth. And peace of mind, deep, tranquil peace of\nmind, was in Tom's heart.", "'Why, bless my soul!' said Tom, looking at her with great pride, when\nthey had tenderly embraced each other, 'how altered you are Ruth! I", "and make her uneasy. Besides, they are particular people where she is,\nand it might have rendered her situation uncomfortable if she had had a\nvisit from a young man like John. Poor Ruth!'", "She parted tenderly from Ruth, who with her brother was in the act of\nleaving the room, when a key was heard in the lock of the door below,\nand immediately afterwards a quick footstep in the passage. Tom stopped,\nand looked at Merry.", "really he was right), but good, plain, honest truths, which no one could\ndeny. Ruth laughed, and all that, but she made no objection; so it was\nan engagement.", "'My dear,' returned that lady, dropping her voice, 'you are single,\nain't you?'\n\nRuth laughed blushed, and said 'Yes.'", "'It was a severe trial of his fidelity, no doubt,' said Ruth.", "originated with Ruth, but took it for granted that he was rather dull\nhimself. In truth he was; for the lightest cloud upon the Heaven of her\nquiet mind, cast its shadow upon Tom.", "was a creature in the world more truly loved than you, dear Ruth, by\nme!'" ], [ "The gentleman nodded his head gravely; and said, 'What is your name,\nsir?'\n\nMartin told him.\n\n'How old are you, sir?'", "Martin was not long in determining within himself that this must be\nColonel Diver's son; the hope of the family, and future mainspring of", "Martin indeed was dangerously ill; very near his death. He lay in that\nstate many days, during which time Mark's poor friends, regardless of", "'Then Martin is your Christian name?' said Mr Pinch, thoughtfully. 'Oh!'", "Martin told him.\n\n'What is your profession, sir?'\n\nMartin told him that also.\n\n'What is your destination, sir?' inquired the gentleman.", "He said this so pointedly, that Martin stopped in his eating, and said:\n\n'If you mean me--'\n\n'Yes, I do, sir,' interposed Mark.", "'When I told you we were not related,' said the other mildly, but not\nwithout confusion on her own part, 'I meant not in any way. Not even by\nmarriage. Did you call me, Martin?'", "Martin said nothing in reply, but soon afterwards fell asleep, and\nremained so for an hour or more. When he awoke, finding it had ceased", "'Yes!' said Martin, after a short silence. 'I know that, Mark.'\n\nHe spoke so regretfully that his partner abandoned the theme, and was\nsilent for a short time until he had thought of another.", "'In Heaven's name, don't talk of that,' said Martin with a thrill of\nterror. 'What should I do, Mark, if you were taken ill!'", "'What do you mean?' demanded Martin, sternly. 'Do you know he is the son\nof the old man of whom you have spoken?'\n\n'I do,' he answered.", "asked, after the wearer of this or that coronet, and said, 'Was he quite\nwell?' Martin answered, 'Yes, oh yes. Never better;' and when they said,", "come to tell him that he had already chosen for himself; knowing that\nhe, the old man, had some faint project on that head, but ignorant whom\nit concerned. How it was little comfort to him to know that Martin", "'That,' he repeated, nodding condescendingly to Martin, as to an outer\nbarbarian and foreigner, 'is dreadful true. Darn all manner of vermin.'", "legs therein enshrined. And there is no doubt that Martin was monstrous\nwell-disposed to regard his position in that light, after his recent", "name,' said Martin, who never hammered upon an idea that wasn't red hot,\n'under the name of Chuzzlewit and Tapley.'", "'In a word,' said Martin, 'I have been bred and reared all my life by\nthis grandfather of whom I have just spoken. Now, he has a great many", "'But for this faithful man,' said Martin, turning towards Mark, 'whom\nI first knew in this place, and who went away with me voluntarily, as", "happened to Martin, you may be sure you would have heard of it long\nago. I have often wished to say this to you,' Tom continued with an", "Martin was by this time stirring; but he had greatly changed, even in\none night. He was very pale and languid; he spoke of pains and weakness" ], [ "'Why, not so much on that account, if the truth must be spoken,'\nreturned Martin, 'as because my grandfather has an inveterate dislike to", "Martin's nature was a frank and generous one; but he had been bred up\nin his grandfather's house; and it will usually be found that the", "'In a word,' said Martin, 'I have been bred and reared all my life by\nthis grandfather of whom I have just spoken. Now, he has a great many", "from Martin to his grandfather, requesting leave to wait upon him for a\nfew minutes. And postponing as he went along the congratulations of his\nnumerous friends until a more convenient season, he soon arrived at Mr", "one day, very rich. So I should have been, but for certain brief\nreasons which I am going to tell you, and which have led to my being\ndisinherited.'", "'My grandfather did?' said Martin.\n\n'Yes--spoke to me alone, and told me--'\n\n'What the hound had said,' cried Martin. 'Don't repeat it.'", "'Grandfather!' cried Martin. 'Hear me! I implore you, let me speak!'", "Martin looked as steadily at his grandfather as if there had been a\ndead silence all this time. The old man looked no less steadily at Mr\nPecksniff.", "'Grandfather!' said Martin, with great earnestness. 'From a painful\njourney, from a hard life, from a sick-bed, from privation and distress,", "'But for the time that would be lost, I would even write to my\ngrandfather,' Martin went on to say, 'and implore him for money to free", "'I have little more to say,' returned Martin. 'And as I say it now, with\nlittle or no hope, Grandfather; whatever dawn of hope I had on entering\nthe room; believe it to be true. At least, believe it to be true.'", "They found Martin in the house, lying wrapped up in his blanket on\nthe ground. He was, to all appearance, very ill indeed, and shook and", "Still Martin looked steadily and mildly at his grandfather. 'Will you\ngive me no answer,' he said, at length, 'not a word?'", "'What relation was Mr Anthony Chuzzlewit, who--'\n\n'--Who died--to me?' said Martin. 'He was my grandfather's brother.'", "As to any thought of revenging himself on young Martin for his insolent\nexpressions when they parted, and of shutting him out still more", "'Well, sir,' resumed Martin, stirring the fire once more, and drawing\nhis chair still closer to it, 'his selfishness makes him exacting,", "Old Martin Chuzzlewit had gradually undergone an important change. Even\nupon the night when he made such an ill-timed arrival at Mr Pecksniff's", "Martin stopped here, for he saw that the ladies regarded him with no\nvery great favour, though what he had done to deserve the disdainful", "calls that selfishness in them. Thus I once doubted those about me--not\nwithout reason in the beginning--and thus I once doubted you, Martin.'", "come to tell him that he had already chosen for himself; knowing that\nhe, the old man, had some faint project on that head, but ignorant whom\nit concerned. How it was little comfort to him to know that Martin" ], [ "Now you must bear in mind, Pinch, that I am not only desperately fond\nof her (for though she is poor, her beauty and intellect would reflect", "Tom Pinch.'", "terms, without the least qualification. His treatment of Pinch is in\nitself enough to justify them; but when I look back upon the five years", "Innyard is gained, and Tom Pinch, getting down quite stunned and giddy,\nis in London!", "on which they became acquainted. Mr Pinch was delighted to hear him say\nthis, and felt so much flattered by his kind assurances of friendship\nand protection, that he was at a loss how to express the pleasure they", "'I have lived in his house, Pinch, and had him fawning on me days and\nweeks and months. You know it. I have suffered him to treat me like", "'Pinch him for me, Cherry, pray,' said Mercy. 'I never did hate anybody\nso much as I hate this creature, I declare!'", "'Mr Pinch,' she whispered. 'Dear Mr Pinch! Tell me the truth! You did\nthat? There was some quarrel between you, and you struck him? I am sure\nof it!'", "Mr Pinch accordingly, after turning over the leaves of his book with as\nmuch care as if they were living and highly cherished creatures, made\nhis own selection, and began to read. Before he had completed fifty\nlines his friend was snoring.", "about him, as after his detection by Thomas Pinch. He had scarcely ever\nbeen at once so tender in his humanity, and so dignified and exalted in", "'If that is Mr Pinch,' cried Tigg, kissing his hand again, and beginning\nto follow his head into the room, 'he will permit me to say that I", "'Ah, Miss Pinch,' said John. 'This is the bright side of the life we\nlead in such a place. It would be a dismal life, indeed, if it didn't\nbrighten up to-day'", "'As to Mr Pinch,' pursued the landlady, 'if ever there was a dear, good,\npleasant, worthy soul alive, Pinch, and no other, is his name. But", "Tom Pinch and Mary. Of course. He had recognized their voices, and\nalready knew the topic they discussed. Looking like the small end of a", "'I am sure, Mr Pinch,' said Charity, looking after her betrothed and\nglancing at her sister, 'that I ought to be very grateful for the", "'Just like Mr Pinch, Merry!' said Charity. 'We have always noticed it in\nhim, you remember?'\n\n'Yes, my dear,' giggled Merry, 'but we have never given it him, you\nknow.'", "'My name is Pinch,' observed Tom. 'Have the goodness to call me by it.'", "Pinch here is the quiet sharer. A southern aspect; a charming prospect;\nMr Pinch's little library, you perceive; everything agreeable and\nappropriate. If there is any additional comfort you would desire to have", "it's all a secret. I shall always feel very kindly towards you, I assure\nyou, for the boldness you showed that night. As to you and me, Mr Pinch,\nWE part the best friends possible!'", "walk on, and allow me to follow with Miss Pinch. My dear, I never was so\ntaken by surprise!'" ], [ "'What relation was Mr Anthony Chuzzlewit, who--'\n\n'--Who died--to me?' said Martin. 'He was my grandfather's brother.'", "'What do you mean?' demanded Martin, sternly. 'Do you know he is the son\nof the old man of whom you have spoken?'\n\n'I do,' he answered.", "Martin was not long in determining within himself that this must be\nColonel Diver's son; the hope of the family, and future mainspring of", "While these confidences were interchanged between Tom Pinch and Mark,\nMartin and John Westlock were very differently engaged. They were no\nsooner left alone together than Martin said, with an effort he could not\ndisguise:", "both, in a certain cordiality of manner, like his own friend, and not\nunlike him in face. Which was no great wonder, for it soon appeared that\nhe was their near relation. Martin could not help tracing the family", "'Oh, brother!' cried old Martin, clasping his hands and lifting up his\neyes. 'Oh, brother, brother! Were we strangers half our lives that you", "The gentleman nodded his head gravely; and said, 'What is your name,\nsir?'\n\nMartin told him.\n\n'How old are you, sir?'", "'When I told you we were not related,' said the other mildly, but not\nwithout confusion on her own part, 'I meant not in any way. Not even by\nmarriage. Did you call me, Martin?'", "'Yes!' said Martin, after a short silence. 'I know that, Mark.'\n\nHe spoke so regretfully that his partner abandoned the theme, and was\nsilent for a short time until he had thought of another.", "'You gave my message to Martin?' said the old man, bending his eyes upon\nhim.\n\n'I did, sir,' returned Mark; 'and you never see a gentleman more\nsurprised in all your born days than he was.'", "'We quite understand each other, my good fellow,' said Martin rising in\nself-approval and condescension. 'We are no longer master and servant,", "from Martin to his grandfather, requesting leave to wait upon him for a\nfew minutes. And postponing as he went along the congratulations of his\nnumerous friends until a more convenient season, he soon arrived at Mr", "He said this so pointedly, that Martin stopped in his eating, and said:\n\n'If you mean me--'\n\n'Yes, I do, sir,' interposed Mark.", "'No,' said Martin, shaking his head sorrowfully: 'I am past that.'\n\n'But if you're past that already,' returned Mark, 'you must be ill, and\nought to be attended to.'", "Martin, who had been fretting himself--quite unnecessarily, as Mark\nthought--during the whole of these proceedings, could no longer restrain", "'Look ye!' said Anthony in his ear. 'I think he is sweet upon you\ndaughter.'", "The General took it and read it attentively; now and then stopping to\nglance at the two strangers. When he had finished the note, he came over\nto Martin, sat down by him, and shook hands.", "'Oh dear, yes,' cried Tom, greatly relieved, for his mind was running\nupon Martin. 'Certainly. I never spoke to him before to-night, sir!'", "Tom answered, with even more than his usual enthusiasm, that he was\nunder obligations to Mr Pecksniff which the devotion of a lifetime would\nbut imperfectly repay.\n\n'How long have you known my nephew?' asked Martin.", "Martin looked as steadily at his grandfather as if there had been a\ndead silence all this time. The old man looked no less steadily at Mr\nPecksniff." ], [ "'Dead, is he!' cried Tigg, 'Venerable old gentleman, is he dead! You're\nvery like him.'", "'Tigg!' cried Tom. 'Tigg! The gentleman who borrowed some money of me?'", "'Aye!' said Tigg, in the same tone. 'With a strong iron, perhaps. Has\nNadgett been here to-night?'\n\n'Yes. I went out to him. Hearing you had company, he went away.'", "'No,' said Tigg. 'But we must bring him into contact with this sort of\nfellows.'\n\n'He was very fond of literature,' observed Wolf.\n\n'Was he?' said Tigg.", "'So it is,' cried Tigg, kissing his hand in honour of the sex. 'You're\nquite right. Sweet, silly, fluttering little simpletons!'", "orders. He has been told,' said Tigg, raising his voice, 'not to lose\nsight of certain friends of ours, or to think that he has done with them\nby any means. He understands his business.'", "'Oh Chiv, Chiv,' murmured Mr Tigg, 'you have a nobly independent nature,\nChiv!'", "'Oh!' said Tigg, smoothing his moustache, as he cast his eyes upon the\nname. 'I recollect. No. He has not been here.'", "Mr Slyme lost no time in disappearing, and it is to be presumed in going\nround the corner. Mr Tigg, planting his legs as wide apart as he could", "'A capital idea?' said Tigg, returning after a time to his companion's\nfirst remark; 'no doubt it was a capital idea. It was my idea.'", "'That is a comfort,' Mr Tigg rejoined. 'Then,' he added, shielding his\nlips with the palm of his hand, and applying them close to Mr Pinch's\near, 'I have come for the letter.'", "Mr Tigg shook his head with a ferocious look, and smote himself once\nupon the breast.", "'I thought it best not to have a party,' said Tigg. 'You feel that?'\n\n'Why, what do you call this?' retorted Jonas. 'You don't mean to say you\ndo this every day, do you?'", "outward surface, it was Tigg. Though turned and twisted upside down,\nand inside out, as great men have been sometimes known to be; though", "'I wish I may die,' said Mr Tigg, stretching out his body so far that\nhis head was as much in Martin's little cell as Martin's own head was,", "'Egad!' cried Tigg, gravely nodding his head as if some ground of\nobjection occurred to him at that moment for the first time, 'it's", "'Not a bit,' said Tigg. 'Not a bit. We're all alike--or nearly so.'", "'Nonsense, Mark!' cried Tom. 'You see Mr--'\n\n'Tigg,' interposed that gentleman. 'Wait a bit. I shall crush him soon.\nAll in good time!'", "'It's my belief,' said Tigg, 'that you are Poison to him. Nadgett! give\nme that towel!'", "'No! You surprise me!' cried Tigg. 'That's the cream of the thing sir. I\nnever knew that man fail to redeem a promise, in my life. You're not in\nwant of change, are you?'" ], [ "practical knowledge of such matters, and Martin learned of him; whereas\nthe other settlers who remained upon the putrid swamp (a mere handful,\nand those withered by disease), appeared to have wandered there with", "'Do you con-sider this a swamp, sir?' inquired Chollop gravely.\n\n'Why yes, sir,' returned Mark. 'I haven't a doubt about it myself.'", "'Where!' repeated Martin. 'You don't suppose I am going to remain here,\ndo you?'\n\nThe imperturbable Mark confessed that he did.", "Martin off again to help bring up the chest. And all the way to the\nlanding-place and back, Mark talked incessantly; as if he would infuse", "affected it. Impatient, wet, and weary though they were, Martin and Mark\nwere overjoyed to see these old faces, and watched them with delighted", "Martin indeed was dangerously ill; very near his death. He lay in that\nstate many days, during which time Mark's poor friends, regardless of", "'And so, Mark,' said Martin, looking at him with an anxious expression,\n'and so you are glad we have left New York far behind us, are you?'\n\n'Yes, sir,' said Mark. 'I am. Precious glad.'", "The wharf was close at hand, and at that instant Mark could hear them\nshouting out his name; could even hear Martin calling to him to make", "With that, he fell into the rear to walk with Mark, while Martin and\nElijah Pogram went on to the National.\n\n'We've come back alive, you see!' said Mark.", "'Neighbours in America! Neighbours in Eden!' cried Mark. 'Neighbours in\nthe swamp, neighbours in the bush, neighbours in the fever. Didn't she", "alleviate the sufferings of Martin. His attentions did not stop there;\nfor he was backwards and forwards constantly, and rendered Mark\ngood service in all his brisk attempts to make their situation more", "'Very well,' said Martin, wishing to change the theme. 'Having come to\nthat conclusion, Mark, perhaps you'll attend to me. The place to which", "'I was merely observing, sir,' said Mark, addressing this new visitor,\n'that I looked upon the city in which we have the honour to live, as\nbeing swampy. What's your sentiments?'", "Now, when Martin began to think of this, and to look at Mark as he lay\nthere; never reproaching him by so much as an expression of regret;", "He addressed himself to Mark; because he saw that Martin, who wished\nhim to go, being already half-mad with feverish irritation, which the", "'Ah, Mark!' sighed Martin, 'the less we say of that the better. Do I see\nthe light yonder?'", "fain to wander out alone, and look for some. He succeeded, after great\ntrouble, in engaging two garrets for himself and Mark, situated in a", "Often at night when Mark and Martin were alone, and lying down to sleep,\nthey spoke of home, familiar places, houses, roads, and people whom they", "With all his various duties of attendance upon Martin (who became the\nmore exacting in his claims, the worse he grew), Mark worked out of", "'A short interview after such an absence!' said Martin, sorrowfully.\n'But we are well out of the house. We might have placed ourselves in a\nfalse position by remaining there, even so long, Mark.'" ], [ "'I thought it best not to have a party,' said Tigg. 'You feel that?'\n\n'Why, what do you call this?' retorted Jonas. 'You don't mean to say you\ndo this every day, do you?'", "And yet all this was quite a secret. Mr Nadgett kept it to himself, and\nkept it close. Jonas had no more idea that Mr Nadgett's eyes were fixed", "'Oh! I understand all about paid-up capitals, you know,' said Jonas.\n\n'You do?' cried Tigg, stopping short.\n\n'I should hope so.'", "Jonas heard this with a sinking heart. He knew that they were on his\nheels, and felt that they were resolute to run him to destruction. Inch", "'I learn from our friend,' said Tigg, drawing his chair towards Jonas\nwith a winning ease of manner, 'that you have been thinking--'", "'Mr Jonas Chuzzlewit!'\n\n'I thought so,' Tigg retorted.\n\n'Shall I go?'", "stood behind Jonas, and so near him, that he could not help hearing all\nthat passed. He had stood there, with his sister on his arm, expecting\nand hoping to have an opportunity of explaining his strange share in", "'That is a comfort,' Mr Tigg rejoined. 'Then,' he added, shielding his\nlips with the palm of his hand, and applying them close to Mr Pinch's\near, 'I have come for the letter.'", "outward surface, it was Tigg. Though turned and twisted upside down,\nand inside out, as great men have been sometimes known to be; though", "by nodding his head solemnly at the end of each. When it had come to\na close for the second time, Mr Tigg sat himself down in a chair and\naddressed the young men as follows:", "orders. He has been told,' said Tigg, raising his voice, 'not to lose\nsight of certain friends of ours, or to think that he has done with them\nby any means. He understands his business.'", "The conclusion of this story gave immense satisfaction, which was in\nno degree lessened by the announcement of dinner. Jonas repaired to the", "possible. They were alone together now. It was twilight, and the\nappointed time drew near at hand. Jonas walked up and down the room. The\nold man sat in his accustomed corner.", "Seeing that the tears were stealing down his face, Jonas mustered\ncourage to unclench his hands, and push him off before he answered:", "that Jonas, who had assailed him with such exceeding coarseness, should\nhave been sufficiently magnanimous to keep the secret of their quarrel;\nand that any train of circumstances should have led to the commission of", "Jonas was so dismayed and conscience-stricken, that he had not even\nhardihood enough to unclench the old man's hands with his own; but stood", "The night had now come, when the old clerk was to be delivered over\nto his keepers. In the midst of his guilty distractions, Jonas had not\nforgotten it.", "It was Jonas, she said timidly.", "'That's all you know about it,' returned Jonas, seating himself with a\nmelancholy air. 'He never was better than he is now. How are they all at\nhome? How's Charity?'", "Jonas, seeming to recover all at once his usual caution. 'You know me\npretty well, and I don't blab about such things. But, Ecod, I've made a\ntrifle.'" ], [ "'My brother, sir,' said Ruth Pinch, timidly presenting Tom.", "Tom Pinch.'", "'Augustus--Mr Pinch, you know. My dear girl!' said Miss Pecksniff,\naside. 'I never was so ashamed in my life.'\n\nRuth begged her not to think of it.", "'I am sure, Mr Pinch,' said Charity, looking after her betrothed and\nglancing at her sister, 'that I ought to be very grateful for the", "'But the way would be, you know, Mark, according to your views of\nthings,' said Mr Pinch, 'to marry somebody you didn't like, and who was\nvery disagreeable.'", "'Mr Thomas Pinch!' said Charity, performing the ceremony of introduction\nwith evident pride. 'Mr Moddle. Where's my sister?'", "'It makes me happy too,' said Ruth Pinch, who now that her first\nsurprise was over, had a chatty, cheerful way with her, and a", "'Ah, Mr Pinch!' said Miss Pecksniff. 'It all comes of this unfortunate\nmarriage. If my sister had not been so precipitate, and had not united", "'Mr Pinch,' she whispered. 'Dear Mr Pinch! Tell me the truth! You did\nthat? There was some quarrel between you, and you struck him? I am sure\nof it!'", "John Westlock became quite absorbed in her fortunes; asking many\nquestions of Tom Pinch about her marriage, inquiring whether her husband", "Tom Pinch and Mary. Of course. He had recognized their voices, and\nalready knew the topic they discussed. Looking like the small end of a", "'As to Mr Pinch,' pursued the landlady, 'if ever there was a dear, good,\npleasant, worthy soul alive, Pinch, and no other, is his name. But", "between the same good gentleman and Mr Pinch. But these were nothing to\nthe indignant demonstrations of Martin, when she related, as the common\ntalk of the neighbourhood, what entire possession he had obtained", "Mr Pinch lost no time in moving away; and in a minute or two returned\nwith one of the precious volumes from the shelf beside his bed. Martin\nhad in the meantime made himself as comfortable as circumstances would", "'But what is he--oh, Mr Pinch, what IS he--who, thinking he could\ncompass these designs the better if I were his wife, assails me with the", "terms, without the least qualification. His treatment of Pinch is in\nitself enough to justify them; but when I look back upon the five years", "'Tcha, Mr Pinch!' cried Charity, with sharp impatience, 'you're very\neasily deceived. You don't know the arts of which such a creature is\ncapable. Oh! it's a wicked world.'", "Mr Pinch and Martin, little dreaming of the stormy weather that\nimpended, made themselves very comfortable in the Pecksniffian halls,", "it's all a secret. I shall always feel very kindly towards you, I assure\nyou, for the boldness you showed that night. As to you and me, Mr Pinch,\nWE part the best friends possible!'", "'Just like Mr Pinch, Merry!' said Charity. 'We have always noticed it in\nhim, you remember?'\n\n'Yes, my dear,' giggled Merry, 'but we have never given it him, you\nknow.'" ], [ "Tom Pinch.'", "which suggested to him that in regard to having aided her, for example,\nthey had differed very much. Somehow he coupled Tom Pinch with this\ntrain of reflection; and thinking that Tom would be very likely to have", "He had sent for John Westlock immediately on his arrival; and John,\nunder the conduct of Tom Pinch, had waited on him. Having a lively", "Tom Pinch's heart was very tender, and he could not bear to see the\nmost indifferent person in distress; still less one who had awakened", "inspire John Westlock with any unusual interest; and twice or\nthrice observed that he looked at Tom Pinch doubtfully; not to say\ncompassionately. He thought, and blushed to think, that he knew the", "In walking from the city with his sentimental friend, Tom Pinch had\nlooked into the face, and brushed against the threadbare sleeve, of Mr", "But it was good in him that even then, in his high fortune and\nhappiness, with her lips nearly printed on his own, and her proud young\nbeauty in his close embrace, he had a hand still left to stretch out to\nTom Pinch.", "'Why, Tom, my boy!' cried the gentleman. 'Tom!'\n\n'How glad I am to see you, Mr Westlock!' said Tom Pinch, shaking both\nhis hands, and trembling more than ever. 'How kind you are!'", "'Oh, Tom Pinch, Tom Pinch!' said Martin, in a thoughtful tone; 'what\nwould I give to be again beside you, and able to hear your voice, though\nit were even in the old bedroom at Pecksniff's!'", "Mark waited at the door for Tom Pinch and his sister, who were coming up\nthe stairs. The old man went to meet them; took their hands in his;\nand kissed her on the cheek. As this looked promising, Mr Tapley smiled\nbenignantly.", "And thus they parted for the night; John Westlock full of\nlight-heartedness and good humour, and poor Tom Pinch quite satisfied;", "Tom Pinch's sister was governess in a family, a lofty family; perhaps\nthe wealthiest brass and copper founders' family known to mankind.", "The closing words of the last chapter lead naturally to the commencement\nof this, its successor; for it has to do with a church. With the church,\nso often mentioned heretofore, in which Tom Pinch played the organ for\nnothing.", "'Remain here, if you please, Miss Pinch,' pursued the gentleman, looking\nslightly over his shoulder.\n\nTom interrupted him here, by rising to place a chair for his sister.\nHaving done which he sat down again.", "CHAPTER THIRTY-SIX\n\nTOM PINCH DEPARTS TO SEEK HIS FORTUNE. WHAT HE FINDS AT STARTING", "Innyard is gained, and Tom Pinch, getting down quite stunned and giddy,\nis in London!", "Martin attended him; and they remained in secret conference together for\nan hour or more; leaving Tom Pinch alone. When the young man returned,", "'So was I, sir. I was wondering how Mr Pinch and Mr Pecksniff gets on\nnow.'\n\n'Poor Tom!' said Martin, thoughtfully.", "'Old Tom Pinch!' said Mr Pecksniff, looking on him with affectionate\nsadness. 'Ah! It seems but yesterday that Thomas was a boy fresh from", "Young Martin sat at the head of the table, and Tom Pinch at the foot;\nand if there were a genial face at that board, it was Tom's. They all" ], [ "The gentleman nodded his head gravely; and said, 'What is your name,\nsir?'\n\nMartin told him.\n\n'How old are you, sir?'", "'In a word,' said Martin, 'I have been bred and reared all my life by\nthis grandfather of whom I have just spoken. Now, he has a great many", "Martin was not long in determining within himself that this must be\nColonel Diver's son; the hope of the family, and future mainspring of", "Martin's nature was a frank and generous one; but he had been bred up\nin his grandfather's house; and it will usually be found that the", "'What do you mean?' demanded Martin, sternly. 'Do you know he is the son\nof the old man of whom you have spoken?'\n\n'I do,' he answered.", "come to tell him that he had already chosen for himself; knowing that\nhe, the old man, had some faint project on that head, but ignorant whom\nit concerned. How it was little comfort to him to know that Martin", "While these confidences were interchanged between Tom Pinch and Mark,\nMartin and John Westlock were very differently engaged. They were no\nsooner left alone together than Martin said, with an effort he could not\ndisguise:", "'When I told you we were not related,' said the other mildly, but not\nwithout confusion on her own part, 'I meant not in any way. Not even by\nmarriage. Did you call me, Martin?'", "He said this so pointedly, that Martin stopped in his eating, and said:\n\n'If you mean me--'\n\n'Yes, I do, sir,' interposed Mark.", "Martin indeed was dangerously ill; very near his death. He lay in that\nstate many days, during which time Mark's poor friends, regardless of", "'It is not' said Martin, checking himself. 'That is Mr Pinch.'", "'In Heaven's name, don't talk of that,' said Martin with a thrill of\nterror. 'What should I do, Mark, if you were taken ill!'", "'You gave my message to Martin?' said the old man, bending his eyes upon\nhim.\n\n'I did, sir,' returned Mark; 'and you never see a gentleman more\nsurprised in all your born days than he was.'", "name,' said Martin, who never hammered upon an idea that wasn't red hot,\n'under the name of Chuzzlewit and Tapley.'", "'Oh, brother!' cried old Martin, clasping his hands and lifting up his\neyes. 'Oh, brother, brother! Were we strangers half our lives that you", "you what I have written and intend sending to him by post to-night\nit will explain itself. \"My dear Tom Pinch.\" That's rather familiar\nperhaps,' said Martin, suddenly remembering that he was proud when they", "Martin told him.\n\n'What is your profession, sir?'\n\nMartin told him that also.\n\n'What is your destination, sir?' inquired the gentleman.", "both, in a certain cordiality of manner, like his own friend, and not\nunlike him in face. Which was no great wonder, for it soon appeared that\nhe was their near relation. Martin could not help tracing the family", "'That,' he repeated, nodding condescendingly to Martin, as to an outer\nbarbarian and foreigner, 'is dreadful true. Darn all manner of vermin.'", "'Then Martin is your Christian name?' said Mr Pinch, thoughtfully. 'Oh!'" ], [ "Poor Martin! For ever building castles in the air. For ever, in his very\nselfishness, forgetful of all but his own teeming hopes and sanguine", "'Yes, sir,' rejoined the architect, 'I have.'\n\n'He must quit it' said Martin.\n\n'For--for yours?' asked Mr Pecksniff, with a quavering mildness.", "Martin turned involuntarily, and saw, standing close at his side, a\nsallow gentleman, with sunken cheeks, black hair, small twinkling eyes,", "'You see,' said Martin, leaning his chin upon his hand, and looking at\nthe fire, 'ornamental architecture applied to domestic purposes,", "And again Martin said 'Oh!' in the same odd way as before, being anxious\nand disconcerted; not so much, to say the truth, on public grounds, as\nwith reference to the fading prospects of domestic architecture.", "Martin also wrote, by John's advice, a letter to the trustees of the\nfamous Grammar School, boldly claiming the successful design as his,", "'But, I am afraid,' said Martin, glancing again at the Public Buildings,\n'that there's nothing left for me to do.'\n\n'Well! it ain't all built,' replied the agent. 'Not quite.'", "'You shall be gratified,' said Martin. 'Sir, I am a rich man. Not so\nrich as some suppose, perhaps, but yet wealthy. I am not a miser sir,", "Martin's nature was a frank and generous one; but he had been bred up\nin his grandfather's house; and it will usually be found that the", "'In a word,' said Martin, 'I have been bred and reared all my life by\nthis grandfather of whom I have just spoken. Now, he has a great many", "They found Martin in the house, lying wrapped up in his blanket on\nthe ground. He was, to all appearance, very ill indeed, and shook and", "'Well, sir,' resumed Martin, stirring the fire once more, and drawing\nhis chair still closer to it, 'his selfishness makes him exacting,", "legs therein enshrined. And there is no doubt that Martin was monstrous\nwell-disposed to regard his position in that light, after his recent", "Martin by degrees became so far awake, that he had a sense of a terrible\noppression on his mind; an imperfect dream that he had murdered a", "itself, in part, in a desire to see how the occupant of the next\nbox received his pleasantry; to ascertain which he glanced round the\npartition, and immediately, by the gaslight, recognized Martin.", "ruined tower he had built up in the time gone by, with so much pride and\nhope, would have caused a pang in Martin's heart. But now, changed for", "'Observe!' said Martin, looking round. 'I put myself in that man's\nhands on terms as mean and base, and as degrading to himself, as I could", "While these confidences were interchanged between Tom Pinch and Mark,\nMartin and John Westlock were very differently engaged. They were no\nsooner left alone together than Martin said, with an effort he could not\ndisguise:", "'There is a kind of selfishness,' said Martin--'I have learned it in my\nown experience of my own breast--which is constantly upon the watch for", "'That,' he repeated, nodding condescendingly to Martin, as to an outer\nbarbarian and foreigner, 'is dreadful true. Darn all manner of vermin.'" ], [ "Martin was not long in determining within himself that this must be\nColonel Diver's son; the hope of the family, and future mainspring of", "'No, but hear me,' said Martin, 'because this is very important to you,\nand a great satisfaction to me. Mark, you shall be a partner in the", "come to tell him that he had already chosen for himself; knowing that\nhe, the old man, had some faint project on that head, but ignorant whom\nit concerned. How it was little comfort to him to know that Martin", "'Well, sir,' resumed Martin, stirring the fire once more, and drawing\nhis chair still closer to it, 'his selfishness makes him exacting,", "was such a remarkable companion, that Martin quite settled it between\nhimself and his conscience, that in any new settlement it would be\nabsolutely necessary to have such a person knocked on the head for the", "'What do you mean?' demanded Martin, sternly. 'Do you know he is the son\nof the old man of whom you have spoken?'\n\n'I do,' he answered.", "Old Martin turned to Lewsome:\n\n'This is the man,' he said, extending his hand towards Jonas. 'Is it?'", "The General took it and read it attentively; now and then stopping to\nglance at the two strangers. When he had finished the note, he came over\nto Martin, sat down by him, and shook hands.", "'Why,' said Martin, after a moment's hesitation, 'I have learned by\nexperience, that you take an unfair advantage of a stranger, when you", "'Come here!' said the old man, beckoning him to draw nearer. 'Jonas\nwill be my heir, Jonas will be rich, and a great catch for you. You know\nthat. Jonas is sweet upon your daughter.'", "As soon as he was well enough to talk without fatigue, Martin consulted\nhim upon a project he had in his mind, and which a few months back he\nwould have carried into execution without troubling anybody's head but\nhis own.", "'Oh!' said Martin, 'that's not worth speaking of, my love. He's very\ngrateful and desirous to serve me; and I am more than repaid. Now one", "'You gave my message to Martin?' said the old man, bending his eyes upon\nhim.\n\n'I did, sir,' returned Mark; 'and you never see a gentleman more\nsurprised in all your born days than he was.'", "'Very good, sir,' observed Mark. 'Your will's a law, sir. Down it is;'\nand he sat down accordingly upon the bedstead.\n\n'Help yourself,' said Martin, handing him the only knife.", "obtruding himself upon a stranger's notice, to engage him in cheerful\nconversation if he could. His motive was so obvious, and yet so\ndelicately expressed, that Martin felt really grateful to him, and", "from Martin to his grandfather, requesting leave to wait upon him for a\nfew minutes. And postponing as he went along the congratulations of his\nnumerous friends until a more convenient season, he soon arrived at Mr", "after him; being pretty well recovered from his late emotion, which, in\nany other man, one might have thought had been assumed as a machinery\nfor feeling Martin's pulse. The change in the old man found such a", "'That,' he repeated, nodding condescendingly to Martin, as to an outer\nbarbarian and foreigner, 'is dreadful true. Darn all manner of vermin.'", "'I wish he took a little more, indeed,' said Martin. 'Though I don't\nknow why I should. We shouldn't like him half as well, perhaps.'\n\n'He gets put upon, sir,' hinted Mark.", "Mr Pinch lost no time in moving away; and in a minute or two returned\nwith one of the precious volumes from the shelf beside his bed. Martin\nhad in the meantime made himself as comfortable as circumstances would" ], [ "Martin drew that piece of money from his pocket, and tossed it towards\nhim. Mr Tigg caught it, looked at it to assure himself of its goodness,", "'So it is,' said Martin. 'Very true. There was a fellow only a week or\nso ago--a Mr Tigg--who borrowed all the money he had, on a promise to", "persons had gone off and cheated him, and that he had just found out\nthat Montague's name wasn't even Montague, but something else. And they", "Tigg Montague leaned backward in his chair, and cast upon his emissary\nsuch a look of vacant wonder (not unmingled with alarm), that Mr Nadgett", "Mr Tigg was about to speak, but Martin interposed:", "particular aversion to Mr Tigg and his friend, as choice specimens of\nthe species. The business in hand thus easily settled, Mr Pinch and\nMartin would have withdrawn immediately, but for the urgent entreaties", "no longer Montague Tigg, but Tigg Montague; still it was Tigg; the same\nSatanic, gallant, military Tigg. The brass was burnished, lacquered,", "'No! You surprise me!' cried Tigg. 'That's the cream of the thing sir. I\nnever knew that man fail to redeem a promise, in my life. You're not in\nwant of change, are you?'", "Tom begged he wouldn't mention it; and finding him in this condition,\nretired, after an awkward pause, followed by Martin. But Mr Tigg so", "'And he's sure to appear, eh?' said Tigg.\n\n'Why, no, Mr Montague, no,' returned the doctor. 'We will not say that\nin the present case, for this gentleman is very far from it.'", "pleased to find that Montague and Tigg were one. That gentleman\nperceived it, and tapping him familiarly on the sleeve, beckoned him", "It is due to Mr Tigg to say that he had really risen with his\nopportunities; and, peculating on a grander scale, he had become a\ngrander man altogether.", "subsisted, and the strong probability of Mr Tigg's having established\nan independent business of his own on Mr Slyme's connection, it had a\nreasonable appearance of probability; at all events, Martin hoped so;", "innocence, and that in all matters involving a faith in knavery, he was\nthe most credulous of men. If Mr Tigg had preferred any claim to high", "'Its master has grown yellow in the service, if you mean that, my\nfriend,' said Mr Tigg; 'in the patriotic service of an ungrateful\ncountry. You are making it two-and-six, I think?'", "'I give you my sacred word of honour,' said Tigg Montague, 'that I\nraised money on every other individual piece of property, and was left", "some mistake, and that he had been entrusted with no commission whatever\nhaving any reference to Mr Tigg or to his friend, either. Mr Tigg\nreceived this declaration with a grave request that Mr Pinch would have", "'That is a comfort,' Mr Tigg rejoined. 'Then,' he added, shielding his\nlips with the palm of his hand, and applying them close to Mr Pinch's\near, 'I have come for the letter.'", "Martin and Mr Pinch looked, first at each other, and afterwards at Mr\nTigg, who with his arms folded on his breast surveyed them, half in\ndespondency and half in bitterness.", "'Tigg!' cried Tom. 'Tigg! The gentleman who borrowed some money of me?'" ], [ "Martin drew that piece of money from his pocket, and tossed it towards\nhim. Mr Tigg caught it, looked at it to assure himself of its goodness,", "It is due to Mr Tigg to say that he had really risen with his\nopportunities; and, peculating on a grander scale, he had become a\ngrander man altogether.", "'Tigg!' cried Tom. 'Tigg! The gentleman who borrowed some money of me?'", "'That is a comfort,' Mr Tigg rejoined. 'Then,' he added, shielding his\nlips with the palm of his hand, and applying them close to Mr Pinch's\near, 'I have come for the letter.'", "orders. He has been told,' said Tigg, raising his voice, 'not to lose\nsight of certain friends of ours, or to think that he has done with them\nby any means. He understands his business.'", "'No! You surprise me!' cried Tigg. 'That's the cream of the thing sir. I\nnever knew that man fail to redeem a promise, in my life. You're not in\nwant of change, are you?'", "'He wants money, sorely!' cried Mr Tigg with excessive sympathy. 'David,\nwill you have the goodness to do your very utmost for my friend, who", "'And devilish handsome, too,' cried Mr Tigg. 'Two-twelve-six for the\nwatch, and seven-and-six for personal regard. I am gratified; it may", "'Stay!' cried Mr Tigg, who had watched this proceeding keenly. 'I was\njust about to say, that for the convenience of posting you had better", "'Aye!' said Tigg, in the same tone. 'With a strong iron, perhaps. Has\nNadgett been here to-night?'\n\n'Yes. I went out to him. Hearing you had company, he went away.'", "'Just so,' returned Mr Tigg. 'If you had been, I'd have got it for you.'\nWith that he began to whistle; but a dozen seconds had not elapsed when", "'A capital idea?' said Tigg, returning after a time to his companion's\nfirst remark; 'no doubt it was a capital idea. It was my idea.'", "Mr Slyme lost no time in disappearing, and it is to be presumed in going\nround the corner. Mr Tigg, planting his legs as wide apart as he could", "'No,' said Tigg. 'But we must bring him into contact with this sort of\nfellows.'\n\n'He was very fond of literature,' observed Wolf.\n\n'Was he?' said Tigg.", "shop. The only comfort he had in the recollection was, Mr Tigg's\nvoluntary avowal of a separation between himself and Slyme, that would", "'Oh, Chiv, Chiv!' added Mr Tigg, surveying his adopted brother with an\nair of profound contemplation after dismissing this piece of pantomime.", "'Oh, certainly,' replied Tom, 'if you really wish it.' So he accompanied\nMr Tigg to the retreat in question; on arriving at which place that", "Mr Tigg was quite lost in admiration of this noble trait in his friend's\ncharacter; as he made known to Mr Pinch in a neat little ballet of\naction, spontaneously invented for the purpose.", "'Not even half-a-crown.'\n\n'Why, then we come,' said Mr Tigg, 'to the ridiculously small amount of\neighteen pence. Ha! ha!'", "He made so long a pause, that Tigg came to the rescue, and said, in his\npleasantest manner:\n\n'Take a glass of wine.'" ], [ "Martin indeed was dangerously ill; very near his death. He lay in that\nstate many days, during which time Mark's poor friends, regardless of", "Among these sleeping voyagers were Martin and Mark Tapley, who, rocked\ninto a heavy drowsiness by the unaccustomed motion, were as insensible", "He was very much delighted, though, to see Mark Tapley; and received\nMartin with his own frank courtesy. But Martin felt that he did not", "It was characteristic of Martin, that all this while he had either\nforgotten Mark Tapley as completely as if there had been no such person", "'Not all,' returned Martin, in a low voice. 'The best of Mark Tapley is\nonly known to one man, Tom; and but for Mark he would hardly be alive to\ntell it!'", "It is due to Mark Tapley to state that he suffered at least as much from\nsea-sickness as any man, woman, or child, on board; and that he had a", "But Martin was too weary and despondent to take heed of anything, so\nhad no interest in this discovery. Mr Tapley, nothing dashed by his", "Mr Tapley opened his eyes wide in the dark; but did not interrupt.\n\n'And I'll tell you a secret, Mark,' said Martin, 'since we ARE upon this\nsubject. That ring--'", "an appropriate compliment to its company. Martin and Mark Tapley were\nin the first, as it was the most comfortable; and, being far from full,", "'Mark Tapley, too!' said Tom, running towards the door, and shaking\nhands with somebody else. 'My dear Mark, come in. How are you, Mark? He", "again; but lay there, looking about him with a disconcerted meekness\nin his face so enormously ridiculous, that neither Mark Tapley nor John", "Westlock's, come. Come along, Mark Tapley. It's Mark's doing, I have\nno doubt; and it serves you right for having such a grumbler for your\ncompanion.'", "While these confidences were interchanged between Tom Pinch and Mark,\nMartin and John Westlock were very differently engaged. They were no\nsooner left alone together than Martin said, with an effort he could not\ndisguise:", "When Mark Tapley, leaving Martin in the architectural and surveying\noffices, had effectually strengthened and encouraged his own spirits", "Martin, who had been fretting himself--quite unnecessarily, as Mark\nthought--during the whole of these proceedings, could no longer restrain", "Mr Tapley smiled, and looked all manner of ways, that he might not be\nsupposed to attach any importance to this fact.\n\n'Upon the ring--HER ring, Mark,' said Martin, looking ruefully at his\nempty finger--", "'Now, Mr Tapley,' said Mark, giving himself a tremendous blow in the\nchest by way of reviver, 'just you attend to what I've got to say.", "alleviate the sufferings of Martin. His attentions did not stop there;\nfor he was backwards and forwards constantly, and rendered Mark\ngood service in all his brisk attempts to make their situation more", "Martin off again to help bring up the chest. And all the way to the\nlanding-place and back, Mark talked incessantly; as if he would infuse", "and when he had gone on a few yards, stopped and gazed at them. Mr\nTapley, also, looked over his shoulder, and so did Martin; for the" ], [ "'I thought it best not to have a party,' said Tigg. 'You feel that?'\n\n'Why, what do you call this?' retorted Jonas. 'You don't mean to say you\ndo this every day, do you?'", "Jonas heard this with a sinking heart. He knew that they were on his\nheels, and felt that they were resolute to run him to destruction. Inch", "'Mr Jonas Chuzzlewit!'\n\n'I thought so,' Tigg retorted.\n\n'Shall I go?'", "man and the murderer; which he did with great effect. The bottle being\nemptied and the story done, Jonas was in precisely the same boisterous", "'Oh! I understand all about paid-up capitals, you know,' said Jonas.\n\n'You do?' cried Tigg, stopping short.\n\n'I should hope so.'", "'No,' said Tigg. 'But we must bring him into contact with this sort of\nfellows.'\n\n'He was very fond of literature,' observed Wolf.\n\n'Was he?' said Tigg.", "that Jonas, who had assailed him with such exceeding coarseness, should\nhave been sufficiently magnanimous to keep the secret of their quarrel;\nand that any train of circumstances should have led to the commission of", "Jonas said this offensively enough; for over and above the habitual\ndistrust of his character, it was in his nature to seek to revenge", "Tom, nevertheless, persisting in his intention, and opening his lips to\nspeak again, Jonas set upon him like a savage; and in the quickness and", "'I learn from our friend,' said Tigg, drawing his chair towards Jonas\nwith a winning ease of manner, 'that you have been thinking--'", "Jonas, in his vivacity, made a sudden sawing in the air, so close behind\nthe doctor's jugular that he turned quite red. Then Jonas (in the same\nstrange spirit of vivacity) burst into a loud discordant laugh.", "Mr Jonas withdrew his arm, and for a moment looked at her more like a\nmurderer than a lover. But he cleared his brow by degrees, and broke\nsilence with:\n\n'I say, Mel!'", "'There's some one dead,' he said, 'or dying; and I want to knows who it\nis. Go see, go see! Where's Jonas?'\n\n'In the country,' she replied.", "'Ecod!' cried Jonas, with a wild laugh. 'There's some fun in catching\nthat old hypocrite. I hate him. Shall I go to-night?'", "orders. He has been told,' said Tigg, raising his voice, 'not to lose\nsight of certain friends of ours, or to think that he has done with them\nby any means. He understands his business.'", "And yet all this was quite a secret. Mr Nadgett kept it to himself, and\nkept it close. Jonas had no more idea that Mr Nadgett's eyes were fixed", "Jonas was so dismayed and conscience-stricken, that he had not even\nhardihood enough to unclench the old man's hands with his own; but stood", "'You always were as selfish an old blade as need be,' said Jonas in a\nvoice too low for him to hear, and looking at him with an angry frown.", "Mr Crimple also departed on the business of the morning; and Jonas\nChuzzlewit and Tigg were left alone.", "They went down in that order. Whatever Jonas felt in reference to\nMontague; whatever sense he had of being caged, and barred, and trapped," ], [ "circumstances which had delivered the old gentleman into his hands for\nthe confusion of evil-doers and the triumph of a righteous nature, he\nalways felt that Mary Graham was his stumbling-block. Let the old man", "them for the first time of Mary Graham (for by that name old Martin\nChuzzlewit had introduced her) did not at all improve this state of", "last recorded), old Martin, who had taken Mary Graham's hand in his, and\nwhispered kindly to her, as telling her she had no cause to be alarmed,", "and dreamed--new source of waking uneasiness--that he had betrayed his\ntrust, and run away with Mary Graham.", "course. So you came with a prejudice, you know, Miss Graham, and are not\na fair witness.'", "Mary, for I say a rich one. Now, I am about to break a design to you,\ndearest, which will startle you at first, but which is undertaken for", "worthiest creatures in this county), is hardly a home for Miss Graham.'", "'No, no!' cried Tom. 'YOU mistake him. But,' he added, with a rapid\nchange in his tone, 'what is the matter? Miss Graham, what is the\nmatter?'", "The landlady looked in great astonishment at her whom he called Mary,\nand finding no rejoinder in the drooping face, looked back again at him.", "'If you have not observed,' said Mary, 'that it is so, pray take\nassurance from my lips, and do not, as you are a gentleman, continue to\noffend me.'", "'There is another topic,' said Martin, 'on which I hope you will assist\nme. You remember Mary, cousin?'", "'My dear Martin,' said Mary.", "'Because I have been afraid,' said Mary, 'of injuring you.'\n\n'Of injuring me!' cried Tom.\n\n'Of doing you an injury with your employer.'", "sacred laws of hospitality, to which you were pledged as an inmate\nof this house; have presumed to address Miss Graham with unreturned\nprofessions of attachment and proposals of love.'", "him. It startled him to see the embodied image of his thoughts not far\nahead. Mary herself. And alone.", "'What is he,' said Mary, 'who, when my only friend--a dear and kind one,\ntoo--was in full health of mind, humbled himself before him, but was", "Graham. But not a word said Tom of what lay hidden in his heart; his\nheart, so deep, and true, and full of honour, and yet with so much room", "'You might have meant Mary,' said the old man.\n\n'Indeed I might. Quite true. I might speak of her as a dear, dear\nfriend, I hope?' observed Mr Pecksniff.", "'My dear Mary,' said Martin; and lovers are such a singular kind of\npeople that this is all they did say just then, though Martin took her", "'Upon that subject,' said Martin, looking calmly at the old man as\nhe spoke, but glancing once at Mary, whose face was now buried in her" ], [ "'My brother, sir,' said Ruth Pinch, timidly presenting Tom.", "Tom Pinch.'", "'Augustus--Mr Pinch, you know. My dear girl!' said Miss Pecksniff,\naside. 'I never was so ashamed in my life.'\n\nRuth begged her not to think of it.", "'I am sure, Mr Pinch,' said Charity, looking after her betrothed and\nglancing at her sister, 'that I ought to be very grateful for the", "'But the way would be, you know, Mark, according to your views of\nthings,' said Mr Pinch, 'to marry somebody you didn't like, and who was\nvery disagreeable.'", "'Mr Thomas Pinch!' said Charity, performing the ceremony of introduction\nwith evident pride. 'Mr Moddle. Where's my sister?'", "'It makes me happy too,' said Ruth Pinch, who now that her first\nsurprise was over, had a chatty, cheerful way with her, and a", "'Ah, Mr Pinch!' said Miss Pecksniff. 'It all comes of this unfortunate\nmarriage. If my sister had not been so precipitate, and had not united", "'Mr Pinch,' she whispered. 'Dear Mr Pinch! Tell me the truth! You did\nthat? There was some quarrel between you, and you struck him? I am sure\nof it!'", "John Westlock became quite absorbed in her fortunes; asking many\nquestions of Tom Pinch about her marriage, inquiring whether her husband", "Tom Pinch and Mary. Of course. He had recognized their voices, and\nalready knew the topic they discussed. Looking like the small end of a", "'As to Mr Pinch,' pursued the landlady, 'if ever there was a dear, good,\npleasant, worthy soul alive, Pinch, and no other, is his name. But", "between the same good gentleman and Mr Pinch. But these were nothing to\nthe indignant demonstrations of Martin, when she related, as the common\ntalk of the neighbourhood, what entire possession he had obtained", "Mr Pinch lost no time in moving away; and in a minute or two returned\nwith one of the precious volumes from the shelf beside his bed. Martin\nhad in the meantime made himself as comfortable as circumstances would", "'But what is he--oh, Mr Pinch, what IS he--who, thinking he could\ncompass these designs the better if I were his wife, assails me with the", "terms, without the least qualification. His treatment of Pinch is in\nitself enough to justify them; but when I look back upon the five years", "'Tcha, Mr Pinch!' cried Charity, with sharp impatience, 'you're very\neasily deceived. You don't know the arts of which such a creature is\ncapable. Oh! it's a wicked world.'", "Mr Pinch and Martin, little dreaming of the stormy weather that\nimpended, made themselves very comfortable in the Pecksniffian halls,", "it's all a secret. I shall always feel very kindly towards you, I assure\nyou, for the boldness you showed that night. As to you and me, Mr Pinch,\nWE part the best friends possible!'", "'Just like Mr Pinch, Merry!' said Charity. 'We have always noticed it in\nhim, you remember?'\n\n'Yes, my dear,' giggled Merry, 'but we have never given it him, you\nknow.'" ], [ "Tom Pinch.'", "Tom Pinch's heart was very tender, and he could not bear to see the\nmost indifferent person in distress; still less one who had awakened", "inspire John Westlock with any unusual interest; and twice or\nthrice observed that he looked at Tom Pinch doubtfully; not to say\ncompassionately. He thought, and blushed to think, that he knew the", "In walking from the city with his sentimental friend, Tom Pinch had\nlooked into the face, and brushed against the threadbare sleeve, of Mr", "which suggested to him that in regard to having aided her, for example,\nthey had differed very much. Somehow he coupled Tom Pinch with this\ntrain of reflection; and thinking that Tom would be very likely to have", "Innyard is gained, and Tom Pinch, getting down quite stunned and giddy,\nis in London!", "But it was good in him that even then, in his high fortune and\nhappiness, with her lips nearly printed on his own, and her proud young\nbeauty in his close embrace, he had a hand still left to stretch out to\nTom Pinch.", "The closing words of the last chapter lead naturally to the commencement\nof this, its successor; for it has to do with a church. With the church,\nso often mentioned heretofore, in which Tom Pinch played the organ for\nnothing.", "Tom Pinch and Mary. Of course. He had recognized their voices, and\nalready knew the topic they discussed. Looking like the small end of a", "'Oh, Tom Pinch, Tom Pinch!' said Martin, in a thoughtful tone; 'what\nwould I give to be again beside you, and able to hear your voice, though\nit were even in the old bedroom at Pecksniff's!'", "And thus they parted for the night; John Westlock full of\nlight-heartedness and good humour, and poor Tom Pinch quite satisfied;", "He had sent for John Westlock immediately on his arrival; and John,\nunder the conduct of Tom Pinch, had waited on him. Having a lively", "Mark waited at the door for Tom Pinch and his sister, who were coming up\nthe stairs. The old man went to meet them; took their hands in his;\nand kissed her on the cheek. As this looked promising, Mr Tapley smiled\nbenignantly.", "John Westlock became quite absorbed in her fortunes; asking many\nquestions of Tom Pinch about her marriage, inquiring whether her husband", "Tom cleared his throat, and smiled.\n\n'SHE would like you, Tom, I know,' said Martin.\n\n'Aye!' cried Tom Pinch, faintly.", "'Remain here, if you please, Miss Pinch,' pursued the gentleman, looking\nslightly over his shoulder.\n\nTom interrupted him here, by rising to place a chair for his sister.\nHaving done which he sat down again.", "'I know he has the will, sir,' said Tom Pinch's sister, 'and I know how\nkindly and considerately you cherish it, for which neither he nor I can", "Tom Pinch and his sister. Mrs Gamp was a lady of that happy temperament\nwhich can be ecstatic without any other stimulating cause than a general\ndesire to establish a large and profitable connection. She added daily", "CHAPTER THIRTY-SIX\n\nTOM PINCH DEPARTS TO SEEK HIS FORTUNE. WHAT HE FINDS AT STARTING", "lantern. How much more difficult when, at the old man's bidding she drew\nher hand through his--Tom Pinch's--arm!" ] ]

[ "Why did Martin senior want Martin Jr. to break off his engagement?", "What is Mercy's nickname?", "What stolen item does Tigg sell to fund his transformation into a fine man?", "Where do Martin and Mark set out to start new lives in the United States? ", "Why did Jonas murder Tigg?", "How much was Cherry's dowry?", "What is Ruth employed as?", "Who is Ruth related to?", "Who is Martin named after?", "Why is Martin disinherited by his grandfather?", "Who does Pinch fall in love with?", "How are Anthony and Martin Senior related?", "Who murders Tigg?", "What swampy settlement do Mark and Martin move to in America? ", "In the end of the story what is it revealed that Tigg had known about Jonas?", "Who does Ruth Pinch marry?", "Who was Tom Pinch's benefactor while he was in London?", "Who is the namesake that is raising Martin?", "Who is the greedy architect Martin apprentices with?", "Why has Seth taken Martin, Jr. on as an apprentice?", "What does Montague Tigg cheat Martin, Jr out of?", "What does Tigg use the funds from the stolen watch for?", "What do Martin, Jr and Mark Tapley nearly die of?", "Why did Jonas murder Tigg?", "Who is Mary Graham?", "Who does Ruth Pinch marry?", "Who does Tom Pinch spend his life in unrequited love with?" ]

[ [ "His engagement to Mary would compromise his care. ", "Because he wants to arrange their match " ], [ "Merry. ", "Merry" ], [ "A pocket watch.", "A pocket watch. " ], [ "Eden", "A swampy, disease-filled settlement named \"Eden\"" ], [ "To prevent Tigg from revealing Jonas's plot to murder Anthony. ", "To prevent the revelation of intentions to murder Anthony." ], [ "4000 pounds", "4000" ], [ "A governess.", "Governess." ], [ "Tom Pinch", "Tom Pinch." ], [ "His grandfather", "His grandfather Martin Chuzzlewit Sr" ], [ "Because he wants to marry Mary", "He wants to marry Mary " ], [ "Mary", "Mary Graham" ], [ "They are brothers", "They are brothers" ], [ "Jonas", "Jonas." ], [ "Eden", "Eden. " ], [ "Tigg knew Jonas was planning to kill Anthony", "Jonas had planned to murder Anthony." ], [ "John", "John Westlock" ], [ "Martin Senior", "Pecksniff" ], [ "His grandfather, Martin Sr.", "Martin Chuzzlewit Sr" ], [ "Seth Pecksniff", "Seth Pecksniff" ], [ "To get closer to the wealthy Martin, Sr.", "As a way of getting closer to the money in the will." ], [ "A pocket watch", "A pocket watch " ], [ "To transform himself into a gentleman named Tigg Montague", "To pretend to be a businessman so he can cheat others out of their money" ], [ "They both become ill with Malaria", "malaria" ], [ "To prevent him from revealing his plans to murder Anthony.", "to prevent Tigg from revealing that Jonas planned to murder Anthony" ], [ "An orphan girl Martin, Sr raised to be his nursemaid", "Mary Graham is the orphan Martin Chuzzlewit, the elder, adopted as a child. " ], [ "John Westlock", "John Westlock " ], [ "Mary Graham", "Mary " ] ]

[ [ "HEALY\n Shut the fuck up and tell her the truth.\n\nBefore he can respond, Ted ENTERS.", "Ted releases Healy and glares at him.\n\n TED\n You fucked me, man? Why would you do that?", "HEALY (cont'd)\n (sickened)\n Oh Christ...poor dog.\n\n TED\n You're a sick man, you know that?", "Ted sees him. Healy forces a smile as Ted approaches.", "Healy starts walking out of the office and Ted follows. Healy is\nhaving a hard time looking him in the eye. So he doesn't.", "HEALY\n You sure, big guy? I'll bet she'd love to\n hear from you before her mastectomy!\n\nAs Ted leaves, Healy puts his feet up on the table and sits back.", "Healy and Tucker grab Dom and throw him down on the couch.\n\n HEALY\n Dom, you're pathetic, fucking over your\n friend Ted like that.", "<U>ON HEALY</U> - he cringes.\n\n HEALY (cont'd)\n Oooof. First chink in the armor, Teddy\n Boy....", "HEALY\n I don't buy it.\n\n TED\n You don't buy what?\n\nSuddenly Healy is in his face.", "Healy grabs him by the collar.\n\n HEALY\n That stalker Ted got to you, right? You're\n working for him, aren't you, you little\n shit?", "Again, no answer. Suddenly Ted SLAMS THE DOOR shut and grabs Healy\nby the collar.\n\n HEALY (cont'd)\n (alarmed)\n Hey, hey, hey!", "Healy thinks about it. \n\n HEALY\n Okay, Ted, I'll do it. But if this chick\n turns up with a toe tag, I'm rolling over\n on you.", "DOM\n Huh? But why did Healy?\n\n TED\n Well think about it.\n\nTed folds his arms.", "HEALY\n God no!\n (pleased)\n I'm just a pathological liar!\n\nMary looks at Tucker, confused.", "HEALY\n Yeah well fuck you! You just can't stand\n the fact that it was my turn.\n\n TED\n Your turn?", "HEALY\n (righteous)\n What do you mean 'why'?\n\n TED\n Answer the question, shitball.", "HEALY\n I don't know what you're talking about.\n\n TED\n I'm talking about the letter, asshole.\n\n HEALY\n What?", "HEALY (V.O.)\n Hey, watch your mouth--she's a great gal.\n I'm the dumbshit for lying to her.", "<U>BACK ON HEALY</U> - he sits up, very interested now.\n\n HEALY\n (into mic)\n Here we go, Teddo. Here comes the money\n shot.", "Healy sits down and motions for a beer.\n\n HEALY\n I think your life's about to change.\n\n TED\n So you found Mary?" ], [ "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "TUCKER\n Whoa, whoa--I don't know what you're talking\n about.\n\n HEALY\n Maybe this'll jog your memory.", "TUCKER\n Who?\n\nHealy throws Tucker to the ground and takes off his sport coat.", "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "TUCKER\n You mean him.\n\nBEAT.\n\n HEALY\n Well...that's debatable.", "MARY\n Tucker...not you, too?\n\nTucker lowers his head and reluctantly nods.", "TUCKER\n Are you shitting me--Mr. Goody-Two-Shoes?\n He was like a fucking eagle scout. You two", "Tucker pulls the tongue depressors out of his teeth and laughs. He\nstands up, and when Mary tries to squeeze past him he gives her a\nkiss on the cheek.", "TUCKER\n You heard me, goddamnit. I...I love her.\n\nHealy slowly lets go.", "TUCKER\n Mary, the man's a killer.\n\n<U>ON HEALY</U> - he can't believe his ears.", "TUCKER\n Name's Norm. I live up in Pompano with my\n folks.\n\n MARY\n Oh Jesus...", "Tucker comes out the front door, looks around, then walks off down\nthe sidewalk.\n\n<U>ANGLE ACROSS THE STREET</U> - on Healy, his steely gaze fixed on\nTucker.", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "TUCKER\n (WHISPERING)\n That stalkin' son-of-a-bitch!\n\n HEALY\n Fucking sickening.", "TUCKER\n Okay, just calm down. It's going to be\n okay.\n\nTucker puts his arms around her.", "INT. MARY'S OFFICE - SAME\n\nMary walks into her office and sees Tucker seated at her desk.\n(SHOT FROM behind Tucker so we only see the back of his head.)", "MARY\n Tucker, this is my friend Pat Healy.\n Healy and Tucker shake hands.\n\n TUCKER\n Pleasure to meet you, Patrick.", "Tucker has a look of concern.", "TUCKER (cont'd)\n I'm a phony--just like you, man.\n\n HEALY\n What do you mean?", "HEALY\n (under breath)\n You're gonna pay, fucker.\n\nHealy discreetly pulls out and slowly follows Tucker in his car." ], [ "TUCKER\n Don't flatter yourself--I was following\n <U>her</U>, I always do. How the hell you think\n I got rid of Mary's boyfriend Steve?", "Tucker pulls the tongue depressors out of his teeth and laughs. He\nstands up, and when Mary tries to squeeze past him he gives her a\nkiss on the cheek.", "TUCKER\n Like I'm going to try to figure out a guy\n who's idea of courting is blowing farts in\n the chick's face", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "MARY\n Tucker...not you, too?\n\nTucker lowers his head and reluctantly nods.", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "TUCKER\n I thought so. Anyway, I hope you don't\n think I'm being meddlesome. I just think\n you should be careful with this guy.", "TUCKER\n You heard me, goddamnit. I...I love her.\n\nHealy slowly lets go.", "Tucker backs away nervously. \n\n TUCKER\n Whoa, whoa, you're getting crazy now. Why\n would I cross the line--what do you think I\n got no pride?", "TUCKER\n Who?\n\nHealy throws Tucker to the ground and takes off his sport coat.", "TUCKER\n Name's Norm. I live up in Pompano with my\n folks.\n\n MARY\n Oh Jesus...", "TUCKER\n Just dumb luck. I delivered a pie to her\n one night and she answered the door in her", "TUCKER\n No, I'm not. I just want to get you-drunk\n so you'll pass out and I can have my way\n with Mary.\n\nEveryone LAUGHS.", "TUCKER\n I never said that.\n\nAs Tucker throws another...\n\nINT. MARY'S APARTMENT - SAME", "TUCKER\n (still hugging)\n Come on, like you mean it.\n\nMary LAUGHS and hugs Tucker tighter. Then:", "way I do. Do you know what he told my\n friend Tucker? He said he would've popped\n the question a lot earlier if Warren wasn't\n in my life.", "you until we had this fuck out of the\n fucking picture.\n (moves in on Tucker)\n You crossed the line, man.", "MARY\n Can I pour you one?\n\n TUCKER\n Thanks, but I've got to be going.\n Unfortunately, Doc, this isn't a social\n visit." ], [ "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "MARY (cont'd)\n Brett...?\n\n BRETT FAVRE\n Hi, Mary.", "BRENDA\n Mary, the guy's full of shit.\n\n MARY\n What if he's not? What if Tucker just made\n an honest mistake?", "BOYFRIEND/SMOKEY\n (to Mary)\n You know him?\n\n MARY\n He's my brother.", "MARY (V.O. )\n Well I am pretty psyched. I ran into a\n guy today I hadn't seen since high school.\n\nHealy loses the smile and sits up.", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "Healy makes a BEEP sound and then holds his breath.\n\n<U>ON MARY</U> - she stares at the phone, feeling cornered.", "HEALY (cont'd)\n Mary ah, forget it.\n\n MARY\n What?\n\n HEALY\n No, forget it, it was stupid.", "Mary shoots Brenda a look. \n\n MAGDA\n Hey hey, what did you say Pat's last name\n was?\n\n MARY\n Healy.", "MARY (V.O.)\n (nervous)\n Uh, hey buddy. Oh boy, am I pissed. You're", "MARY\n I mean he murdered someone and did time\n back in Boston. The guy's a freak.\n\n TED\n (stunned)\n Jeez, Mary...I'm...", "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n But you didn't meet him. He seems so I\n don't know...perfect...kind of.\n\n BRENDA\n He has a big cock, doesn't he?", "MARY\n <U>Just say it.\n\n</U>Healy takes a deep breath.\n\n HEALY\n Could I feel your bosoms before I go?", "MARY\n I can't believe he remembered you. He never\n remembers anybody.\n (beat)\n You know I tried to call you for weeks\n after that.", "MARY (V. O . )\n (clearly struggling)\n Stop that! No! Somebody help me!!!!!\n\nHealy and Tucker jump out of the car and RUN INTO THE BUILDING.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n Come on, what were you going to say?\n\n HEALY\n Nah, really, it was moronic.\n\nShe grabs him by the shirt playfully.", "LISA\n At one point you were talking about\n marrying him. Come on, why'd you dump him?\n\nMary thinks about this." ], [ "A determined Ted is cruising along the highway in his rent-a-car.\nHe has a cup of coffee in his hand and a HITCHHIKER in the seat", "CUT TO:\n\nINT. TED'S CAR - DAY\n\nDom is driving; a bruised and somber Ted is in the passenger seat.", "TED\n (pats his back pocket)\n Got cash.\n\n DOM\n Car clean? Plenty of gas?\n\n TED\n Check.", "Ted sees him. Healy forces a smile as Ted approaches.", "Again, Warren pulls Ted into the store.\n\n CUT TO:\n\nEXT. MIAMI STREET - DAY", "Ted shoots him a look that makes Warren feel like a\nsissy. Convinced it's not too dangerous, Warren\ndecides to go for it and Ted follows.", "Ted flinches at this.\n\n TED\n Wait a second, I never told you that.\n\n DOM\n Christ, Ted, I was only four towns away.", "TED\n Oh. The hitchhiker.\n (CHUCKLES)\n That's what this is all about.\n\nTed puts his head in his hands and smiles.", "Ted manages to duck and PUFFY FLIES OUT THE OPEN WINDOW!\n\n DISSOLVE TO:\n\nEXT MIAMI STREET - DAY", "TED\n (beat)\n Okay.\n\nAnd so Ted does.\n\n CUT TO:", "Ted hops onto Warren's back.\n\n TED (cont'd)\n Giddy-up.\n\nWarren walks about five feet and stops.", "MARY\n Oh. So...what brings you down here?\n\n TED\n Funny story. You see, me and a buddy of\n mine decided to...ah...you know...just\n ...drive down.", "Ted stands and starts moping away.\n\n TED\n Thanks, Healy. Good work.", "Ted SIGHS and follows Healy out the front door.\n\nEXT. PARKING LOT - DAY\n\nThey walk across the lot toward Healy's car.", "--Mary pulls her car up in front of her apartment. AS\nTed gets out of the passenger's side, he notices that\nPUFFY IS STILL ON THE ROOF. He quickly GRABS PUFFY\nbefore Mary notices.", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "CUT TO:\n\nEXT. MARY'S HOUSE - TWILIGHT\n\nA tuxedoed and smiling Ted drives up in his parent's station\nwagon.", "Ted comes out of the building, a broken man. He paces back and\nforth on the sidewalk, manic with despair. Then he seems to grow\nangry. He rifles through his pockets until he finds a SLIP OF\nPAPER.", "TED\n I called him. I told him to pick up Warren\n and get over here.\n\neveryone turns their attention to Ted.", "Warren approaches and motions for Ted to hop on his back.\n\n WARREN\n Piggyback ride?\n\n MARY\n Warren, come on, leave Ted alone." ], [ "DOM\n Well...at least now you know.\n\n TED\n I think it was better when I didn't. It was\n kind of inspiring to know there was someone\n so pure in the world.", "DOM\n What? You fucked him over, too.\n\n HEALY\n He's no friend of mine.", "DOM\n You are one lucky sonofabitch, you know\n that?\n\n TED\n I am?", "DOM\n I never said that. I'm saying your lucky\n those kids found his kidneys.\n (beat)\n Besides, your brother Jimmy never gave a\n shit about you.", "TED\n Dom? What are you?\n\n DOM\n You stole her from me. Now I want her back.", "DOM\n Yeah, I guess he still lives with her.\n Seemed like a sweet lady--got diabetes or\n something--so I went out on a limb and got\n him transferred down to Providence.", "DOM\n Each day is better than the next.\n (beat)\n Have you ever been, you know...in love with\n someone?\n\n TED\n Nah.", "Dom hands Ted a SLIP OF PAPER.\n\n DOM\n His address in Miami. You know, when you\n think about it, we really don't know the\n first thing about this guy.", "DOM\n Well why don't you look her up?\n\n TED\n (sarcastic)\n Yeah, right.\n\n DOM\n Why not?", "EXT. DOM'S HOUSE - DAY\n\nDom and Ted are drinking beer while sitting on Dom's front steps.\nWe see signs of kids everywhere: a tricycle, six-foot basketball\nhoop, dolls, etc.", "Healy and Tucker grab Dom and throw him down on the couch.\n\n HEALY\n Dom, you're pathetic, fucking over your\n friend Ted like that.", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "Dom nods aggressively.\n\n MARY (cont'd)\n I had to move, go to court, change my last\n name--you stole all my shoes!\n\nDom stands up.", "MARY\n Woogie? What are what are you doing here?\n\n<U>REVERSE ANGLE</U> reveals Dom sitting on her bed.", "CUT TO:\n\nINT. TED'S CAR - DAY\n\nDom is driving; a bruised and somber Ted is in the passenger seat.", "DOM\n He'll do better than that. I'll send him\n down to Miami on business, you throw him a\n couple bucks on the side, and he'll track\n her down.", "Ted flinches at this.\n\n TED\n Wait a second, I never told you that.\n\n DOM\n Christ, Ted, I was only four towns away.", "DOM\n Never?\n\n TED\n Well once. Mary.\n\nDom SIGHS.\n\n DOM\n Mary again.", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "Ted gives him a look.\n\n DOM (cont'd)\n You know, you're a real glass-is-half-empty\n guy. You got a fucking guardian angel, man." ], [ "TED\n I did it because because I'd never\n stopped thinking about you and if I didn't\n find you I knew my life would never be good\n again.\n\nMary looks away.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n (softly)\n Please leave.\n\n TED\n (devastated)\n Mary, come on...\n\n MARY\n Go!", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "TED\n (lamely)\n What do you mean?\n\nMary picks up a letter off the coffee table and hands it to him.\nTed takes a quick look and then drops it on the table.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "INT. MARY'S APARTMENT - CONTINUOUS\n\nTed peeks around the corner and sees a SOMBER Mary sitting on the\ncouch.", "TED\n Uh no. I think I'm gonna get out while\n I'm ahead.\n\nMary looks a little disappointed.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "MARY (cont'd)\n Ted...?\n\n TED\n (looking down)\n I...I just want you to be happy, Mary.", "Ted looks Mary in the eye, then starts for the door.\n\n TED (cont'd)\n (as he passes Warren)\n See you, Warren.", "They remain across the street from one another.\n\n MARY\n Did you mean what you said back there, Ted?\n\nTed starts to well up again.", "MARY\n Thanks a lot, Ted.\n\n<U>CLOSE ON</U> - Ted. He can't believe what he's just heard. As Mary\nhelps him up, she turns her attention to Warren.", "MARY (cont'd)\n It looks like a gob of...\n\nMary leans forward for a closer look. Ted is terrified.", "TED\n Mary, we haven't seen each other in twelve\n years.\n (beat)\n Don't make me wait another day.\n\nMary seems touched by this." ], [ "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "Mary smiles. Is this guy for real?\n\n MARY\n Yeah.\n\n HEALY\n Wow. I thought I was the only one.", "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "HEALY\n God no!\n (pleased)\n I'm just a pathological liar!\n\nMary looks at Tucker, confused.", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "MARY\n Not long at all, but I really like him.\n (off Tucker's look)", "Gary takes his and walks off. A couple more patients and then\nbucktoothed FREDDIE steps up to her.\n\n FREDDIE\n Will you marry me, Mary?", "</U> MARY\n Magda!\n\n MAGDA\n The little shit lied to me about that guy!\n\nMary picks up the startled dog and pets him.", "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "LISA\n At one point you were talking about\n marrying him. Come on, why'd you dump him?\n\nMary thinks about this.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "Healy almost flies out of his seat.\n\n MARY (O.S.)\n He's a nice guy, isn't he?", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "Tucker pulls the tongue depressors out of his teeth and laughs. He\nstands up, and when Mary tries to squeeze past him he gives her a\nkiss on the cheek.", "TED\n (to Tucker)\n Who the fuck are you?\n\n HEALY\n He's in love with Mary, too.", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace." ], [ "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "Before he can finish, Mary steps forward and their mouths meet in\na passionate KISS. \n\n DISSOLVE TO:", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "Then Ted takes a deep breath and his eyes flutter open.\n\n TED\n Mary....Oh Mary, I love you.\n\nMary's smile is as bright as the light from heaven.", "Gary takes his and walks off. A couple more patients and then\nbucktoothed FREDDIE steps up to her.\n\n FREDDIE\n Will you marry me, Mary?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "Mary nods. Healy takes another swing and duck-hooks one about\nfifty yards. Mary addresses her ball, takes a smooth backswing,\nand", "Healy opens the back door to put away his golf shoes. Suddenly,\nrolls and rolls of paper come tumbling out. Mary bends over to\nhelp Healy pick them up.", "MARY\n Actually, it's Mary <U>Brooks</U> now.\n\n TED\n (taken aback)\n Oh...are you...?", "MARY (cont'd)\n Ted...?\n\n TED\n (looking down)\n I...I just want you to be happy, Mary.", "Mary smiles. Is this guy for real?\n\n MARY\n Yeah.\n\n HEALY\n Wow. I thought I was the only one.", "MARY\n (won back over)\n Look, uh, I was thinking maybe we should go\n have dinner sometime.\n\nHealy smiles at this and we", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare." ], [ "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n Hi, Ted.\n\n TED\n Hi, Mary.", "MARY\n Tell me where you're staying. I'll pick you\n up at eight.\n\nTed finally smiles and we\n\n CUT TO:", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "TED\n All right, let's go.\n\nTed jumps up and starts up the stairs two at a time.\n\nINT. MARY'S APARTMENT - NIGHT", "They smile at one another.\n\n MARY\n It's too bad you don't live down here, Ted.\n\n TED\n (pleased)\n Yeah?", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "Ted shows up at Mary's apartment door carrying a BOUQUET OF\nFLOWERS and a BASEBALL. When he KNOCKS, the door opens.", "Finally she recognizes him.\n\n MARY\n Oh my God...Ted.\n (big smile)\n What are you...? I can't believe this. I\n haven't seen you since--", "Then Ted takes a deep breath and his eyes flutter open.\n\n TED\n Mary....Oh Mary, I love you.\n\nMary's smile is as bright as the light from heaven.", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY\n Are you all right?\n\n TED\n Oh yeah.", "MARY\n Oh. So...what brings you down here?\n\n TED\n Funny story. You see, me and a buddy of\n mine decided to...ah...you know...just\n ...drive down.", "INT. TED'S HOTEL ROOM - SAME\n\nTed opens the door and Mary is standing there looking as lovely as\never.\n\n TED\n Hey.", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "TED\n Mary, we haven't seen each other in twelve\n years.\n (beat)\n Don't make me wait another day.\n\nMary seems touched by this.", "EXT. MARY'S APARTMENT BUILDING - SAME\n\nMary and Ted, still sitting on the stoop. Mary seems a little\nreflective.", "INT. MARY'S APARTMENT - CONTINUOUS\n\nTed peeks around the corner and sees a SOMBER Mary sitting on the\ncouch." ], [ "At this, Smokey and his girlfriend reluctantly head toward the\nschool, along with most of the crowd.\n\nMary turns her attention in the direction Ted was thrown.\n\n MARY\n You okay?", "MARY\n (running along)\n Ted, I'm so sorry. Are you going to be\n okay?\n\n TED\n (irrational cockiness)\n You betcha!", "TED\n Yup, that's right. Junior prom...kinda.\n\n MARY\n And did everything--?", "MARY\n So who you taking to the prom?\n\n TED\n Huh?\n\n MARY\n The prom--you going?", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "TED\n Oh, I don't know. I think proms are pretty\n dumb.\n\n MARY\n 'Cause I thought maybe you and I could go\n if you weren't already taking someone.", "MARY\n Are you all right?\n\n TED\n Oh yeah.", "MARY\n Hi, Ted.\n\n TED\n Hi, Mary.", "MARY\n (rolling eyes)\n Woogie and I went out for awhile in high\n school.\n\n TED\n (stunned)\n <U>You're Woogie</U>?", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "TED\n All right, let's go.\n\nTed jumps up and starts up the stairs two at a time.\n\nINT. MARY'S APARTMENT - NIGHT", "TED\n Mary.\n\n DR. LALONDE\n From high school Mary? Yeah, I saw her\n about six months ago at a convention in Las\n Vegas.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "TED\n Oh yeah, healed right up. No visible scars.\n\nMary LAUGHS.\n\n TED (cont'd)\n How are you doing, Warren?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--", "<U>TED'S POV</U> - Inside is an an old high school photo of a smiling\nMary.\n\nAs Ted looks at it, he can't help but smile, too.", "TED\n Look, I admit it was brief, but it was\n definitely love. Crushes don't last twelve\n years.\n\n DOM\n Whatever happened to Mary?" ], [ "Mary finally looks up but doesn't smile.\n\n MARY\n Did you hire Pat Healy to follow me around?\n\nTed tries to hide his horror.", "Healy sits down and motions for a beer.\n\n HEALY\n I think your life's about to change.\n\n TED\n So you found Mary?", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n That you put a murderer on my trail?\n\n TED\n Well yeah, I didn't know much about him. I\n just thought--", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "DOM\n I got it--you hire a private eye, fly him\n out there, he follows her around a couple\n days, she'll never know a thing.\n\nTed considers this.", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "TED\n (to Tucker)\n Who the fuck are you?\n\n HEALY\n He's in love with Mary, too.", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "TED\n All right, let's go.\n\nTed jumps up and starts up the stairs two at a time.\n\nINT. MARY'S APARTMENT - NIGHT", "Mary and a muddied Ted are walking Warren home. Warren lags\nbehind, mumbling to himself. Mary notices that Ted is limping.", "TED\n I did it because because I'd never\n stopped thinking about you and if I didn't\n find you I knew my life would never be good\n again.\n\nMary looks away.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "MARY\n Tell me where you're staying. I'll pick you\n up at eight.\n\nTed finally smiles and we\n\n CUT TO:", "Dom walks out of the lobby just as another cab arrives and Mary\ngets out. He sees and her and ducks behind a bush as she walks\npast him.\n\nINT. TED'S HOTEL BATHROOM - SAME", "Ted shows up at Mary's apartment door carrying a BOUQUET OF\nFLOWERS and a BASEBALL. When he KNOCKS, the door opens." ], [ "Mary finally looks up but doesn't smile.\n\n MARY\n Did you hire Pat Healy to follow me around?\n\nTed tries to hide his horror.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "TED\n I did it because because I'd never\n stopped thinking about you and if I didn't\n find you I knew my life would never be good\n again.\n\nMary looks away.", "TED\n Mary, I swear I wasn't trying to trick you.\n\n MARY\n Then what the fuck did you do it for?", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "Ted is stunned.\n\n TED\n Huh? What? No...<U>My Mary</U>? Mary wouldn't go\n for him....would she?", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--", "HEALY\n God no!\n (pleased)\n I'm just a pathological liar!\n\nMary looks at Tucker, confused.", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "MARY\n Uh, hi Pat, it's me, Mary. Just wanted to\n say I'm...looking forward to tonight.\n\nShe hangs up.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "Mary and a muddied Ted are walking Warren home. Warren lags\nbehind, mumbling to himself. Mary notices that Ted is limping." ], [ "Mary finally looks up but doesn't smile.\n\n MARY\n Did you hire Pat Healy to follow me around?\n\nTed tries to hide his horror.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "Healy opens the back door to put away his golf shoes. Suddenly,\nrolls and rolls of paper come tumbling out. Mary bends over to\nhelp Healy pick them up.", "</U> MARY\n Magda!\n\n MAGDA\n The little shit lied to me about that guy!\n\nMary picks up the startled dog and pets him.", "HEALY\n God no!\n (pleased)\n I'm just a pathological liar!\n\nMary looks at Tucker, confused.", "MARY\n Uh, hi Pat, it's me, Mary. Just wanted to\n say I'm...looking forward to tonight.\n\nShe hangs up.", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "Healy has a clear, unobstructed view into Mary's apartment. The\nmusic is coming from Mary's clock radio. MARY sits up in bed and", "MARY\n Tucker, this is my friend Pat Healy.\n Healy and Tucker shake hands.\n\n TUCKER\n Pleasure to meet you, Patrick.", "Mary shoots Brenda a look. \n\n MAGDA\n Hey hey, what did you say Pat's last name\n was?\n\n MARY\n Healy.", "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "MARY\n Pat, I'm not kidding. I really think it's\n the greatest--\n\n HEALY\n --Love story of our time.", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "He watches the rear-view mirror, and the moment he sees Mary\ncoming out from the driving range, he swings his legs out the door", "Healy is sitting on Mary's couch with Puffy spread-eagled\nupside-down on his lap, KNOCKED OUT COLD. Mary and Magda look on\nin amazement.", "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "MARY'S MOM\n Well he was watching you undress with a\n silly grin on his face.\n\n TED (O.S.)\n (pained)\n I was watching the birds!" ], [ "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "INT. MARY'S OFFICE - SAME\n\nMary walks into her office and sees Tucker seated at her desk.\n(SHOT FROM behind Tucker so we only see the back of his head.)", "MARY\n Tucker...not you, too?\n\nTucker lowers his head and reluctantly nods.", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "Tucker pulls the tongue depressors out of his teeth and laughs. He\nstands up, and when Mary tries to squeeze past him he gives her a\nkiss on the cheek.", "TUCKER\n I never said that.\n\nAs Tucker throws another...\n\nINT. MARY'S APARTMENT - SAME", "TUCKER\n Mary, the man's a killer.\n\n<U>ON HEALY</U> - he can't believe his ears.", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "MARY\n Not long at all, but I really like him.\n (off Tucker's look)", "TUCKER\n (still hugging)\n Come on, like you mean it.\n\nMary LAUGHS and hugs Tucker tighter. Then:", "MARY\n Can I pour you one?\n\n TUCKER\n Thanks, but I've got to be going.\n Unfortunately, Doc, this isn't a social\n visit.", "TED\n (to Tucker)\n Who the fuck are you?\n\n HEALY\n He's in love with Mary, too.", "TUCKER (O.S.)\n Well that's what I'm trying to figure\n out. How long have you known him?\n\nINT. MARY'S OFFICE - CONTINUOUS", "MARY\n Well, lucky for me I found out. Thank God I\n have friends like Tucker.\n (beat)", "BRENDA\n Mary, the guy's full of shit.\n\n MARY\n What if he's not? What if Tucker just made\n an honest mistake?", "TUCKER\n No, I'm not. I just want to get you-drunk\n so you'll pass out and I can have my way\n with Mary.\n\nEveryone LAUGHS.", "MARY\n Tucker, where are your crutches?\n\nTucker is stumped for a second, then:", "MARY\n I know what you're going to say, but he\n already told me everything. I know he's not\n an architect.\n\nTucker pulls out a piece of paper." ], [ "TUCKER\n <U>Really</U>? But he's been married for twenty\n years--they've got six kids.\n\n HEALY\n Nice smokescreen, isn't it?", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "TUCKER\n Whoa, whoa--I don't know what you're talking\n about.\n\n HEALY\n Maybe this'll jog your memory.", "TUCKER\n Who?\n\nHealy throws Tucker to the ground and takes off his sport coat.", "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "MARY\n Tucker...not you, too?\n\nTucker lowers his head and reluctantly nods.", "TUCKER\n You mean him.\n\nBEAT.\n\n HEALY\n Well...that's debatable.", "TUCKER (O.S.)\n Well that's what I'm trying to figure\n out. How long have you known him?\n\nINT. MARY'S OFFICE - CONTINUOUS", "you until we had this fuck out of the\n fucking picture.\n (moves in on Tucker)\n You crossed the line, man.", "TUCKER\n You heard me, goddamnit. I...I love her.\n\nHealy slowly lets go.", "Tucker pulls the tongue depressors out of his teeth and laughs. He\nstands up, and when Mary tries to squeeze past him he gives her a\nkiss on the cheek.", "TUCKER\n Are you shitting me--Mr. Goody-Two-Shoes?\n He was like a fucking eagle scout. You two", "TUCKER (cont'd)\n I'm a phony--just like you, man.\n\n HEALY\n What do you mean?", "MARY\n Well, lucky for me I found out. Thank God I\n have friends like Tucker.\n (beat)", "TUCKER\n (WHISPERING)\n That stalkin' son-of-a-bitch!\n\n HEALY\n Fucking sickening.", "TUCKER\n I think everybody could use a drink.\n\nTucker goes into the kitchen.", "TUCKER\n That's what you've been looking for--a\n farter?", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "Tucker comes out the front door, looks around, then walks off down\nthe sidewalk.\n\n<U>ANGLE ACROSS THE STREET</U> - on Healy, his steely gaze fixed on\nTucker.", "Tucker can hardly believe his ears.\n\n MARY\n Pat does projects all over the world.\n\n TUCKER\n (impressed)\n Where would I have seen your work?" ], [ "TED\n I did it because because I'd never\n stopped thinking about you and if I didn't\n find you I knew my life would never be good\n again.\n\nMary looks away.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n (softly)\n Please leave.\n\n TED\n (devastated)\n Mary, come on...\n\n MARY\n Go!", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "TED\n (lamely)\n What do you mean?\n\nMary picks up a letter off the coffee table and hands it to him.\nTed takes a quick look and then drops it on the table.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "INT. MARY'S APARTMENT - CONTINUOUS\n\nTed peeks around the corner and sees a SOMBER Mary sitting on the\ncouch.", "TED\n Uh no. I think I'm gonna get out while\n I'm ahead.\n\nMary looks a little disappointed.", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "MARY (cont'd)\n Ted...?\n\n TED\n (looking down)\n I...I just want you to be happy, Mary.", "Ted looks Mary in the eye, then starts for the door.\n\n TED (cont'd)\n (as he passes Warren)\n See you, Warren.", "They remain across the street from one another.\n\n MARY\n Did you mean what you said back there, Ted?\n\nTed starts to well up again.", "MARY\n Thanks a lot, Ted.\n\n<U>CLOSE ON</U> - Ted. He can't believe what he's just heard. As Mary\nhelps him up, she turns her attention to Warren.", "MARY (cont'd)\n It looks like a gob of...\n\nMary leans forward for a closer look. Ted is terrified.", "TED\n Mary, we haven't seen each other in twelve\n years.\n (beat)\n Don't make me wait another day.\n\nMary seems touched by this." ], [ "Mary smiles. Is this guy for real?\n\n MARY\n Yeah.\n\n HEALY\n Wow. I thought I was the only one.", "TED (cont'd)\n Mary, I found out that your buddy Tucker\n there lied to you about Brett.\n\nTucker lowers his head.", "</U> MARY\n Magda!\n\n MAGDA\n The little shit lied to me about that guy!\n\nMary picks up the startled dog and pets him.", "HEALY\n God no!\n (pleased)\n I'm just a pathological liar!\n\nMary looks at Tucker, confused.", "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "Tucker, Healy, and Dom scoff.\n\n TUCKER\n Oh please...\n\n DOM\n Don't listen to him, Mary. It's a ploy.", "TUCKER\n Uh, well...not exactly. You see, I\n exaggerated a little there.\n\n MARY\n You mean he's not a criminal?", "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "BRENDA\n Mary, the guy's full of shit.\n\n MARY\n What if he's not? What if Tucker just made\n an honest mistake?", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "Healy almost flies out of his seat.\n\n MARY (O.S.)\n He's a nice guy, isn't he?", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "MARY\n It's not true...right, Ted?\n\nTed CLEARS HIS THROAT.", "MARY\n Not long at all, but I really like him.\n (off Tucker's look)", "HEALY (V.O.)\n Hey, watch your mouth--she's a great gal.\n I'm the dumbshit for lying to her.", "Mary finally looks up but doesn't smile.\n\n MARY\n Did you hire Pat Healy to follow me around?\n\nTed tries to hide his horror.", "TED\n (to Tucker)\n Who the fuck are you?\n\n HEALY\n He's in love with Mary, too.", "MARY\n Tucker...not you, too?\n\nTucker lowers his head and reluctantly nods." ], [ "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "Before he can finish, Mary steps forward and their mouths meet in\na passionate KISS. \n\n DISSOLVE TO:", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "Gary takes his and walks off. A couple more patients and then\nbucktoothed FREDDIE steps up to her.\n\n FREDDIE\n Will you marry me, Mary?", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "Then Ted takes a deep breath and his eyes flutter open.\n\n TED\n Mary....Oh Mary, I love you.\n\nMary's smile is as bright as the light from heaven.", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "Mary nods. Healy takes another swing and duck-hooks one about\nfifty yards. Mary addresses her ball, takes a smooth backswing,\nand", "MARY\n Actually, it's Mary <U>Brooks</U> now.\n\n TED\n (taken aback)\n Oh...are you...?", "MARY\n (won back over)\n Look, uh, I was thinking maybe we should go\n have dinner sometime.\n\nHealy smiles at this and we", "Mary smiles. Is this guy for real?\n\n MARY\n Yeah.\n\n HEALY\n Wow. I thought I was the only one.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY (cont'd)\n Ted...?\n\n TED\n (looking down)\n I...I just want you to be happy, Mary.", "Healy opens the back door to put away his golf shoes. Suddenly,\nrolls and rolls of paper come tumbling out. Mary bends over to\nhelp Healy pick them up.", "MARY\n Not long at all, but I really like him.\n (off Tucker's look)", "MARY\n ... and then it was all over.\n (SIGHS)\n We haven't spoken since." ], [ "TED\n Oh, I don't know. I think proms are pretty\n dumb.\n\n MARY\n 'Cause I thought maybe you and I could go\n if you weren't already taking someone.", "TED\n Great. Great.\n (beat)\n So listen, uh, I was wondering if maybe you\n wanted to go to the prom you know, with\n me.", "FRIEND #1\n Hey, dirtbud, who you going to the prom\n with?\n\nFinally Ted takes his eyes off Mary.", "MARY\n So who you taking to the prom?\n\n TED\n Huh?\n\n MARY\n The prom--you going?", "FRIEND #2\n I wonder who she's going with.\n\n FRIEND #1\n Some guy named Woogie.\n\n TED\n Who?", "TED\n Yup, that's right. Junior prom...kinda.\n\n MARY\n And did everything--?", "RENISE\n See, the thing is, I heard a rumor that\n this guy I like was gonna ask me.\n\n TED\n Uh-huh.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "Ted is walking down the street BLUBBERING LIKE A SCHOOLGIRL.\nEveryone he passes stares at him. Suddenly Mary comes running down\nthe OTHER SIDE OF THE STREET.", "HEALY\n You are so full of shit, Strohman. Are you\n going to stand here and tell us that you\n aren't in love with this girl?", "Ted comes out of the building, a broken man. He paces back and\nforth on the sidewalk, manic with despair. Then he seems to grow\nangry. He rifles through his pockets until he finds a SLIP OF\nPAPER.", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "MARY'S DAD\n Yeah? What do you want?\n\n TED\n Um, hi, I'm Ted Peloquin. I'm here to take\n Mary to the prom.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "The Boyfriend throws the Ear-Muff Guy to the ground and is about\nto pummel him when Ted intervenes.\n\n TED\n Take it easy, Smokey.", "Ted thinks about this, shrugs, and opens the door.\n\nBARING HIS TEETH like a Rottweiler, Puffy SPRINGS at Ted's\njugular!", "Then Ted takes a deep breath and his eyes flutter open.\n\n TED\n Mary....Oh Mary, I love you.\n\nMary's smile is as bright as the light from heaven." ], [ "MARY\n So who you taking to the prom?\n\n TED\n Huh?\n\n MARY\n The prom--you going?", "FRIEND #1\n Hey, dirtbud, who you going to the prom\n with?\n\nFinally Ted takes his eyes off Mary.", "TED\n Oh, I don't know. I think proms are pretty\n dumb.\n\n MARY\n 'Cause I thought maybe you and I could go\n if you weren't already taking someone.", "TED\n Yup, that's right. Junior prom...kinda.\n\n MARY\n And did everything--?", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "Ted is stunned.\n\n TED\n Huh? What? No...<U>My Mary</U>? Mary wouldn't go\n for him....would she?", "Ted shows up at Mary's apartment door carrying a BOUQUET OF\nFLOWERS and a BASEBALL. When he KNOCKS, the door opens.", "TED\n All right, let's go.\n\nTed jumps up and starts up the stairs two at a time.\n\nINT. MARY'S APARTMENT - NIGHT", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "Ted looks devastated. Suddenly the door swings open revealing\nMARY'S MOM.", "MARY\n (running along)\n Ted, I'm so sorry. Are you going to be\n okay?\n\n TED\n (irrational cockiness)\n You betcha!", "TED\n (lamely)\n What do you mean?\n\nMary picks up a letter off the coffee table and hands it to him.\nTed takes a quick look and then drops it on the table.", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--" ], [ "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "MARY\n Thanks a lot, Ted.\n\n<U>CLOSE ON</U> - Ted. He can't believe what he's just heard. As Mary\nhelps him up, she turns her attention to Warren.", "FRIEND #1\n Hey, dirtbud, who you going to the prom\n with?\n\nFinally Ted takes his eyes off Mary.", "Finally she recognizes him.\n\n MARY\n Oh my God...Ted.\n (big smile)\n What are you...? I can't believe this. I\n haven't seen you since--", "MARY\n But I think I'd be happiest...with you.\n\nTed just stares at her.\n\n TED\n You're fucking with me, right?", "MARY\n Get out.\n\n TED\n Wait, hold on, Mary--it's not as bad as it\n sounds. I certainly didn't know--", "MARY (to Ted)\n I'm sorry. I should've told you, he's got a\n thing about his ears.\n\n TED\n Oh. Okay. I gotcha.", "TED\n Oh yeah, healed right up. No visible scars.\n\nMary LAUGHS.\n\n TED (cont'd)\n How are you doing, Warren?", "Healy sits down and motions for a beer.\n\n HEALY\n I think your life's about to change.\n\n TED\n So you found Mary?", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "MARY'S DAD\n Yeah? What do you want?\n\n TED\n Um, hi, I'm Ted Peloquin. I'm here to take\n Mary to the prom.", "MARY (V.O. )\n Well I am pretty psyched. I ran into a\n guy today I hadn't seen since high school.\n\nHealy loses the smile and sits up.", "MAGDA (V.O.)\n An old flame?\n\n MARY (V.O.)\n Kind of. Ted Peloquin--one of the sweetest\n guys in the world.", "MARY\n So who you taking to the prom?\n\n TED\n Huh?\n\n MARY\n The prom--you going?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "MARY (cont'd)\n What's that?\n\n TED\n Hm?\n\n MARY\n On your ear, you've got something." ], [ "Mary finally looks up but doesn't smile.\n\n MARY\n Did you hire Pat Healy to follow me around?\n\nTed tries to hide his horror.", "Healy sits down and motions for a beer.\n\n HEALY\n I think your life's about to change.\n\n TED\n So you found Mary?", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n That you put a murderer on my trail?\n\n TED\n Well yeah, I didn't know much about him. I\n just thought--", "Suddenly Dom HONKS THE HORN, then ducks down. Mary turns around\nand sees Ted.", "A buckled-over Ted limps into Dom's office with a crazed look on\nhis face.\n\n TED\n Mary's a babe!\n\n DOM\n What?", "DOM\n I got it--you hire a private eye, fly him\n out there, he follows her around a couple\n days, she'll never know a thing.\n\nTed considers this.", "Ted is devastated to hear this.\n\n MARY (cont'd)\n By the way, how's he doing?\n\n TED\n He's dead.", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "TED\n (to Tucker)\n Who the fuck are you?\n\n HEALY\n He's in love with Mary, too.", "Ted gets out of the car and hustles across the street toward Mary.\n\n TED\n It is you! It's me...Ted. From Rhode\n Island Ted.", "Ted looks into Mary's eyes. She looks vulnerable.\n\n TED\n Yeah...that's what I'm telling you.\n (winks)\n See you, Mare.", "TED\n All right, let's go.\n\nTed jumps up and starts up the stairs two at a time.\n\nINT. MARY'S APARTMENT - NIGHT", "Mary and a muddied Ted are walking Warren home. Warren lags\nbehind, mumbling to himself. Mary notices that Ted is limping.", "TED\n I did it because because I'd never\n stopped thinking about you and if I didn't\n find you I knew my life would never be good\n again.\n\nMary looks away.", "MARY\n Ted!\n\nTed stops and looks across the street at her. He wipes his eyes,\nhopeful.\n\n TED\n What what are you doing here?", "MARY (cont'd)\n Get over here.\n\n TED\n Really?\n\n MARY\n Really.", "MARY\n Tell me where you're staying. I'll pick you\n up at eight.\n\nTed finally smiles and we\n\n CUT TO:", "Dom walks out of the lobby just as another cab arrives and Mary\ngets out. He sees and her and ducks behind a bush as she walks\npast him.\n\nINT. TED'S HOTEL BATHROOM - SAME", "Ted shows up at Mary's apartment door carrying a BOUQUET OF\nFLOWERS and a BASEBALL. When he KNOCKS, the door opens." ], [ "MARY\n Don't you want to know my name?\n\n HEALY\n I already know it, Mary.", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "CUT TO:\n\nINT. MARY'S LIVING ROOM - NIGHT", "Healy starts to knock on Mary's door, but, before he can, the door\nsuddenly swings open revealing a beaming Mary.", "CUT TO:\n\nINT. MARY'S APARTMENT - DAY\n\n<U>CLOSE ON</U> an alarmed Mary.", "Mary nods. Healy takes another swing and duck-hooks one about\nfifty yards. Mary addresses her ball, takes a smooth backswing,\nand", "Mary leads Healy over to her friend TUCKER, a\ndistinguished-looking man in his fifties. Healy looks like a dog\nthat's being dragged to the vet. Mary and Tucker embrace.", "DISSOLVE TO:\n\nINT. MARY'S APARTMENT - DAY", "MARY (cont'd)\n See? That's just one day.\n\nHealy CRACKS UP and then gazes at her. What a babe.", "Mary smiles. Is this guy for real?\n\n MARY\n Yeah.\n\n HEALY\n Wow. I thought I was the only one.", "DISSOLVE TO:\n\nEXT. MARY'S APARTMENT - DAY", "Mary manages a smile.", "decides once and for all who she wants. Now\n Mary, I know this is difficult but you\n really will be doing them all a favor to\n tell them the truth about us.", "Warren doesn't look his way.\n\nJust then Mary comes down the stairs looking as if the directors\nhad really taken their time casting this role. Ted can't believe\nhis eyes.", "MARY\n What did you think, Ted? That you could spy\n on me and trick me into thinking you were\n someone I could...really go for?\n\nMary starts to get emotional.", "MARY\n Ah, my roots here are too deep. I love my\n practice, the people I work with, Warren's\n got a nice thing going", "MARY\n <U>Just say it.\n\n</U>Healy takes a deep breath.\n\n HEALY\n Could I feel your bosoms before I go?", "MARY\n Actually, it's Mary <U>Brooks</U> now.\n\n TED\n (taken aback)\n Oh...are you...?", "MARY\n What are you doing with all these\n blueprints?\n\n HEALY\n Some buildings I'm working on.\n\n MARY\n Are you...an architect?" ], [ "CUT TO:\n\nINT. MARY'S LIVING ROOM - NIGHT", "DISSOLVE TO:\n\nINT. MARY'S APARTMENT - DAY", "DISSOLVE TO:\n\nEXT. MARY'S APARTMENT - DAY", "INT. MARY'S LIVING ROOM - CONTINUOUS", "CUT TO:\n\nINT. MARY'S APARTMENT - DAY\n\n<U>CLOSE ON</U> an alarmed Mary.", "INT. MARY'S APT. - DAY\n\nMary walks into the living room where we see an old woman, MAGDA,\nsitting on the couch LISTENING to a stack of RADIO SCANNERS.", "Healy has a clear, unobstructed view into Mary's apartment. The\nmusic is coming from Mary's clock radio. MARY sits up in bed and", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "INT. MARY'S FAMILY ROOM - SAME", "INT. MARY'S APARTMENT - NIGHT\n\nWhile Mary gets ready for her date, Magda sits in front of the\nradio scanner in her bathrobe with her little dog Puffy on her\nlap.", "MARY\n You own a home there?\n\n HEALY\n Well...it's just a condo really. Right\n outside Katmandu.", "MARY\n Okay, you win. Now try to get some sleep,\n huh.\n\nMary gives Magda a kiss and heads to her bedroom.\n\n CUT TO:", "They smile at one another.\n\n MARY\n It's too bad you don't live down here, Ted.\n\n TED\n (pleased)\n Yeah?", "INT. MARY'S APARTMENT - EVENING\n\nA confused Mary and her girlfriends are in the apartment while\nMagda listens to the radio scanner in the b.g.", "Mary nods. Healy takes another swing and duck-hooks one about\nfifty yards. Mary addresses her ball, takes a smooth backswing,\nand", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "DISSOLVE TO:\n\nINT. MARY'S ROOM - NIGHT", "MARY\n Tell me where you're staying. I'll pick you\n up at eight.\n\nTed finally smiles and we\n\n CUT TO:", "CUT TO:\n\nEXT. MARY'S OFFICE - MORNING\n\nMary pulls up in her Honda Civic. She parks out front and enters\nthe building.", "MARY\n Have you been up all night again?\n\n MAGDA\n Bet your ass I have. It's an important job,\n Neighborhood Watch is." ], [ "CUT TO:\n\nINT. MARY'S LIVING ROOM - NIGHT", "MARY\n I don't know, it was complicated. He's in\n San Francisco, I'm in Miami.\n (dodging question)\n Besides, Magda's psychic dog hated him.", "DISSOLVE TO:\n\nINT. MARY'S APARTMENT - DAY", "DISSOLVE TO:\n\nEXT. MARY'S APARTMENT - DAY", "INT. MARY'S LIVING ROOM - CONTINUOUS", "CUT TO:\n\nINT. MARY'S APARTMENT - DAY\n\n<U>CLOSE ON</U> an alarmed Mary.", "TED\n I told you, her family moved to Miami.\n\n DOM\n I mean since then.\n\n TED\n I don't know.", "address, two-niner-eight Euclid Avenue,\n Miami Beach. Husband, negative. Children\n and Labrador, negative. Extremely nice ass,\n affirmative.", "--Mary pumps Warren's stomach as he coughs water out of\nhis mouth. Ted looks on sheepishly.\n\nEXT. MIAMI STREET - DAY", "INT. MARY'S FAMILY ROOM - SAME", "INT. MARY'S APT. - DAY\n\nMary walks into the living room where we see an old woman, MAGDA,\nsitting on the couch LISTENING to a stack of RADIO SCANNERS.", "CUT TO:\n\nEXT. MIAMI MUSEUM - NIGHT\n\nHealy looks slightly disoriented as Mary leads the way into the\ncourtyard area by the main building.", "INT. MARY'S APARTMENT - NIGHT\n\nWhile Mary gets ready for her date, Magda sits in front of the\nradio scanner in her bathrobe with her little dog Puffy on her\nlap.", "INT. MARY'S APARTMENT - EVENING\n\nA confused Mary and her girlfriends are in the apartment while\nMagda listens to the radio scanner in the b.g.", "Healy has a clear, unobstructed view into Mary's apartment. The\nmusic is coming from Mary's clock radio. MARY sits up in bed and", "TED\n She moved to Miami Beach twelve years ago.\n I checked directory assistance down there\n and she's not listed. She might've moved\n ten times since then.", "They smile at one another.\n\n MARY\n It's too bad you don't live down here, Ted.\n\n TED\n (pleased)\n Yeah?", "MARY\n Magda? She's not my grandmother--actually\n she rents the apartment right next to mine.\n Her husband passed away a couple years ago\n so she doesn't like to be alone.", "MARY\n Behave yourself, Tucker.\n (smiles)\n Come on, what are you doing here?\n\nShe sits in her chair and leans against her desk.", "MARY\n (small smile)\n I appreciate you looking out for me.\n\n CUT TO:\n\nINT. SOUTH CAROLINA PRISON - DAY" ], [ "</U> MARY\n Magda!\n\n MAGDA\n The little shit lied to me about that guy!\n\nMary picks up the startled dog and pets him.", "Healy picks up the stunned pooch and swaddles it in a blanket as\nMagda ENTERS the room followed by Mary.\n\n HEALY\n (petting dog)\n Fine. Fine.", "Magda stares dreamily at Healy, smitten.\n\n MAGDA\n Would you like a glass of tea or something?\n\n HEALY\n You got a brew?", "MARY\n Okay, you win. Now try to get some sleep,\n huh.\n\nMary gives Magda a kiss and heads to her bedroom.\n\n CUT TO:", "MARY\n Magda, what are you doing?\n\nMagda turns off the vacuum and we hear a BANGING SOUND coupled\nwith the O.S. MUFFLED YAPPING of Puffy.", "MARY\n Sure.\n (noticing Magda's trance)\n Uh, Magda, why don't you get some more\n cheese and crackers...?", "The doggie treat LANDS IN MAGDA'S COCKTAIL, waking her up. Magda\nlooks around, gets her bearings, and then DOWNS THE DRINK!\n\n CUT TO:", "MARY\n (to Ted, concerned)\n Um, Ted, I need a moment with Magda--would\n you let the dog out of the bathroom.\n\n TED\n Yeah, sure.", "MARY\n (shrugs)\n Must have a sweet tooth. See if you can\n find some cookies.\n\nAs Magda starts to go through the cupboards...", "MAGDA (V.O.)\n An old flame?\n\n MARY (V.O.)\n Kind of. Ted Peloquin--one of the sweetest\n guys in the world.", "MARY\n I don't know, it was complicated. He's in\n San Francisco, I'm in Miami.\n (dodging question)\n Besides, Magda's psychic dog hated him.", "MAGDA\n What the hell's going on here?\n\nAt first no one knows what to say. Then:\n\n HEALY\n We're in love with your roommate.", "Healy is sitting on Mary's couch with Puffy spread-eagled\nupside-down on his lap, KNOCKED OUT COLD. Mary and Magda look on\nin amazement.", "MARY\n Have you been up all night again?\n\n MAGDA\n Bet your ass I have. It's an important job,\n Neighborhood Watch is.", "Magda pats her little dog PUFFY on the head.\n\n MARY\n Magda, Puffy barks at everybody.", "MAGDA \n I <U>confirmed</U> it on the scanner. I knew\n something was up because Puffy used to bark\n like hell whenever he saw him and you know\n Puffy only barks at bad people.", "Healy hangs up abruptly.\n\nINT. MARY'S APARTMENT - NIGHT\n\n MAGDA\n Ah, Christ, I lost 'em.", "INT. MARY'S APARTMENT - NIGHT\n\nWhile Mary gets ready for her date, Magda sits in front of the\nradio scanner in her bathrobe with her little dog Puffy on her\nlap.", "TUCKER\n There she is--I brought you a little\n thirst-quencher, Mag.\n\n MAGDA\n Oh, you are sweet.", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:" ], [ "Ted shoots him a look that makes Warren feel like a\nsissy. Convinced it's not too dangerous, Warren\ndecides to go for it and Ted follows.", "Ted releases Healy and glares at him.\n\n TED\n You fucked me, man? Why would you do that?", "Finally the implications of this dawn on Ted.\n\n TED\n Jesus Christ what have I done?\n\n CUT TO:", "TED\n (shakes his head)\n Holy shit, I've been going out with a\n loaded gun!\n\n DOM\n People get hurt that way.", "Healy grabs him by the collar.\n\n HEALY\n That stalker Ted got to you, right? You're\n working for him, aren't you, you little\n shit?", "Ted starts to tuck his pants in as Mary and her mother head back\nup the stairs. Mary's Dad and Ted are left alone. And Warren.\n\nTed rubs his head, sees a spot of blood.", "TED\n Three different guys?\n\n HEALY\n Well I'm guessing. There's a black kid, two\n whites, and a midget.", "TED\n Why I did it?\n (scoffs)\n I don't know. Boredom? I thought I was\n doing the guy a favor.\n\nThe Detectives look at each other.", "Again, no answer. Suddenly Ted SLAMS THE DOOR shut and grabs Healy\nby the collar.\n\n HEALY (cont'd)\n (alarmed)\n Hey, hey, hey!", "At this, Smokey and his girlfriend reluctantly head toward the\nschool, along with most of the crowd.\n\nMary turns her attention in the direction Ted was thrown.\n\n MARY\n You okay?", "Healy and Tucker grab Dom and throw him down on the couch.\n\n HEALY\n Dom, you're pathetic, fucking over your\n friend Ted like that.", "Ted comes out of the building, a broken man. He paces back and\nforth on the sidewalk, manic with despair. Then he seems to grow\nangry. He rifles through his pockets until he finds a SLIP OF\nPAPER.", "The Boyfriend throws the Ear-Muff Guy to the ground and is about\nto pummel him when Ted intervenes.\n\n TED\n Take it easy, Smokey.", "MARY\n That you put a murderer on my trail?\n\n TED\n Well yeah, I didn't know much about him. I\n just thought--", "TED\n (bitter)\n No, it was a good thing.\n (off her look)\n I mean, good in that it was very quick.\n\nTed pantomimes an explosion.", "<U>BACK ON HEALY</U> - he sits up, very interested now.\n\n HEALY\n (into mic)\n Here we go, Teddo. Here comes the money\n shot.", "Ted and his friend DOM are blasting a couple buckets.\n\n DOM\n Gay? He said you were gay?\n\n TED\n He implied it.", "TED\n (beat)\n Okay.\n\nAnd so Ted does.\n\n CUT TO:", "Ted sees him. Healy forces a smile as Ted approaches.", "TED\n Jesus Christ you're right.\n\n DOM\n You bet your ass I'm right. You don't go\n out with a loaded gun, you empty the\n barrels!" ], [ "Healy reaches out and cups her breasts. He doesn't kiss her, she\ndoesn't kiss him, he just fondles her breasts. Then:\n\n HEALY\n Okey-dokey, so tomorrow night?", "MARY\n I love you too, Ted.\n (beat)\n I think I always have.\n\nAs the two lovebirds kiss, a LADY CALLS OUT:", "MARY\n <U>Just say it.\n\n</U>Healy takes a deep breath.\n\n HEALY\n Could I feel your bosoms before I go?", "Magda stares dreamily at Healy, smitten.\n\n MAGDA\n Would you like a glass of tea or something?\n\n HEALY\n You got a brew?", "MARY\n Come on, what were you going to say?\n\n HEALY\n Nah, really, it was moronic.\n\nShe grabs him by the shirt playfully.", "HEALY\n Nah, some guy threw me a few bucks to track\n down his high school girlfriend.\n\n SULLY\n Stalker, huh?", "BRENDA\n Mary, the guy's full of shit.\n\n MARY\n What if he's not? What if Tucker just made\n an honest mistake?", "(pats heart)\n But with this Pat guy my head kept saying\n &quot;Grow up, Mary. You have a lot in common", "Healy opens the back door to put away his golf shoes. Suddenly,\nrolls and rolls of paper come tumbling out. Mary bends over to\nhelp Healy pick them up.", "Gary takes his and walks off. A couple more patients and then\nbucktoothed FREDDIE steps up to her.\n\n FREDDIE\n Will you marry me, Mary?", "MARY (V.O.)\n No no, the bigger the better.\n (beat)\n But I must say, they could be a little\n brighter. Nothing's sexier than a mouthful\n of pearly whites.", "BRETT FAVRE\n That's right, Mare. And you know I'll\n always be true to you.\n\n DOM\n Aw shit, this isn't fair.", "HEALY\n (quietly into phone)\n Call you back.\n\n SULLY\n (over phone)\n God, I miss ya, ya fuck-", "MARY\n Oh he can hold you. He weighs\n two-hundred-and-thirty pounds.\n\n TED\n A real Clydesdale, huh Warren?", "BRENDA\n What does this girl want, a corpse? You\n gotta be more specific: 'Seeking deaf mute\n with three pound cock and trust fund.'", "She starts giving him CPR. Somebody covers him with a blanket.\n\nJust then, another CAR WHIZZES OVER HIS FEET like speedbumps. The\ncrowd winces.", "MAN'S VOICE (V.O.)\n That she knew my name blew my mind. Some of\n my best friends didn't know my name.\n\nEXT. SUBURBAN STREET - MORNING", "HEALY\n (to Man)\n Dooby, you old sheep-fucker! How the hell\n are ya?\n\n MAN\n My name's Mel.", "SULLY (V.O.)\n But Jesus, Pat, if she's as special as you\n say, she's going to want to hear about\n the things you did.", "HEALY\n Sully, it's one fuckin' beer for Christ\n sakes.\n (holds up beer)\n Ooh, the big bad beer's gonna get ya." ] ]

[ "Why does Healy lie to Ted?", "What is Tucker's profession?", "How has Tucker been driving away possible suitors?", "Who is Mary's ex-boyfriend, Brett?", "Who helps Ted drive to Florida?", "Who is Dom really?", "Why does Mary break contact with Ted?", "Who is the only suitor to not lie to Mary?", "Who does Mary end up with in the end?", "Where do Ted and Mary meet?", "What high school event were Ted and Mary going to before his accident?", "Who does Ted hire to track down Mary?", "Why does Pat lie to Ted about Mary?", "Who discovers Pat lying to get close to Mary?", "What secret is Tucker hiding from Mary?", "What has Tucker been doing for years?", "Why does Mary break contact with Ted?", "Who is the only man to not lie to Mary?", "Who does Mary end up with?", "Who does Ted Stroehmann land a prom date with in 1985?", "How does Ted lose the prom date with Mary?", "Who encourages Ted to track down Mary 13 years after the prom?", "Who does Ted hire to track down Mary?", "What profession is Mary in?", "Where does Mary live in 1998?", "Who does Mary live with in Miami in 1998?", "Who drugged Magda's dog to try to win Mary over?", "Who shot the guitarist but meant to shoot Ted?", "What was the profession of Brett who wanted to be a suitor to Mary?" ]

[ [ "Because he is in love with Mary too.", "Also falls in love with Mary" ], [ "He is a pizza delivery boy.", "Pizza delivery" ], [ "By saying bad things about them and making up lies.", "Slander" ], [ "NFL Quarterback Brett Favre.", "Brett Favre" ], [ "Dom.", "Dom" ], [ "Mary's ex-boyfriend, Woogie.", "Mary's former boyfriend \"Woogie\"" ], [ "An anonymous letter tells her how Ted hired Healy to find her.", "Ted was connected to Healy" ], [ "Brett.", "Brett" ], [ "Ted.", "Ted" ], [ "In high school", "High school" ], [ "Prom", "The prom" ], [ "A private invesigator named Pat Healy", "Healy" ], [ "Because Pat has fallen in love with Mary and wants to date her", "To discourage him from having contact with her" ], [ "Tucker", "Tucker" ], [ "That he is able-bodied and American", "He is able-bodied and in love with Mary" ], [ "He drives off potential suitors for Mary", "Driving away Mary's potential suiters" ], [ "She finds a letter showing a link between Ted and Pat", "FInds out about private detective" ], [ "Brett Favre", "Brett" ], [ "Ted", "Ted" ], [ "Mary Jensen", "His dream girl Mary Jensen" ], [ "He has an embarrassing zipper accident", "Zipper accident" ], [ "Dom", "Dom" ], [ "Pat Healy", "Pat Healy" ], [ "She is an orthopedic surgeon", "Orthopedic Surgeon" ], [ "Miami", "Miami" ], [ "her friend Magda", "Magda" ], [ "Healy", "Healy" ], [ "Magda's boyfriend", "Magda's boyfriend" ], [ "NFL quarterback", "football player" ] ]

[ [ "TESMAN.\n\nDo you know what you have done, Hedda? It's unlawful appropriation of\nlost property. Fancy that! Just ask Judge Brack, and he'll tell you what\nit is.", "though Tesman is a ninny, he is, as Hedda says, a \"specialist\"--he is a\ncompetent, plodding student of his subject. Lovborg may quite naturally", "[In a tone of indignation.] Hedda Gabler married? And married to--\nGeorge Tesman!\n\n\nHEDDA.\n\nYes--so the world goes.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?", "TESMAN.\n\nIsn't that good news, Hedda? Think of that.\n\n\nMRS. ELVSTED.\n\nAh yes, if only it would last!", "TESMAN.\n\nCompetition! Think of that, Hedda!\n\n\nHEDDA.\n\n[Leans further back in the chair.] Aha--aha!", "TESMAN.\n\nBut who can my competitor be? Surely not--?\n\n\nBRACK.\n\nYes, precisely--Eilert Lovborg.", "TESMAN.\n\n[Also laughing.] Come, you're a nice one Hedda! Fancy that!\n\n\nBRACK.", "TESMAN.\n\n[Looks dubiously at her.] But, Hedda dear--do you think it would quite\ndo for him to remain here with you? Eh? Remember, Aunt Julia can't come.", "HEDDA.\n\nBut the Judge could not guess that. And I say, too, the way he smiled\nand glanced at Tesman when you dared not accept his invitation to this\nwretched little supper-party of his.", "[At the stove, without looking up.] Good morning.\n\n\nTESMAN.\n\n[Turns.] Hedda! [Approaching her.] Good heavens--are you up so early?\nEh?", "HEDDA.\n\n[Involuntarily.] I knew it!\n\n\nLOVBORG.\n\nYou can be of no more service to me, Thea.", "[Who has been gazing at her with folded hands.] Hedda is lovely--\nlovely--lovely. [Goes up to her, takes her head between both hands,", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "TESMAN.\n\n[Whispers softly.] Oh, Hedda, we shall never get over this.\n\n\nBRACK.\n\nH'm, very extraordinary.", "LOVBORG.\n\nAh, I understand. It is an offence against George Tesman, whom\nyou(10)--love.\n\n\nHEDDA.", "Why, because I have a shrewd suspicion that he intends to use you as a\nsort of blind.\n\n\nHEDDA.\n\nOh, how can you think such a thing!", "[Glancing hastily at him.] Ah! Hush!\n\n\nLOVBORG.\n\n[Repeats softly.] Hedda Gabler!\n\n\nHEDDA.", "TESMAN.\n\n[With the papers in both his hands.] Hedda, dear, it is almost\nimpossible to see under that lamp. Think of that!\n\n\nHEDDA.", "TESMAN.\n\nWell well, I hope to goodness they may find something for him to do. I\nhave just written to him. I asked him to come and see us this evening,\nHedda dear." ], [ "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "Oh, it's not that alone. It's Eilert I am so terribly uneasy about.\n\n\nHEDDA.\n\n[Quickly.] Is there anything new about him?", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "the fictitious personages was beginning to make me quite nervous.\" To\nthe same correspondent he wrote on December 4: \"The title of the play is", "MRS. ELVSTED.\n\n[Unable to restrain her anxiety.] Oh! it is something about Eilert\nLovborg!\n\n\nBRACK.", "[Eagerly.] Comrades! Yes, fancy, Hedda--that is the very word he\nused!--Oh, I ought to feel perfectly happy; and yet I cannot; for I\ndon't know how long it will last.", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "[Rising quickly and uneasily.] And now I beg and implore you, Mr.\nTesman--receive Eilert Lovborg kindly if he comes to you! And that he", "[Starting nervously.] Of my husband! What?\n\n\nHEDDA.\n\nThat he should send you to town on such an errand--that he does not come\nhimself and look after his friend.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "[With a violent movement of terror.] Burnt! Burnt Eilert's manuscript!\n\n\nHEDDA.\n\nDon't scream so. The servant might hear you.", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "A terrible coward. [Changing her tone.] But it was a lucky thing for\nyou. And now you have found ample consolation at the Elvsteds'.\n\n\nLOVBORG.", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?", "TESMAN.\n\nWell but, my dear Eilert--!\n\n\nLOVBORG.\n\nFor now I mean to win myself a position again--to make a fresh start." ], [ "BRACK.\n\nLovborg, as well as the others, had been invited in advance. I knew all\nabout it. But he had declined the invitation; for now, as you know, he\nhas become a new man.", "[Going towards him.] Ah, Lovborg! At last--!\n\n\nLOVBORG.\n\nYes, at last. And too late!", "it on the dog\"--neither an unreasonable nor an unusual proceeding. There\nis, no doubt, a certain improbability in the way in which Lovborg is", "I don't answer such questions. I only know that Eilert Lovborg has had\nthe courage to live his life after his own fashion. And then--the last", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "[Taking his hand.] I am glad to see you, Mr. Lovborg. [With a motion of\nher hand.] I don't know whether you two gentlemen--?\n\n\nLOVBORG.", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "[Rising quickly and uneasily.] And now I beg and implore you, Mr.\nTesman--receive Eilert Lovborg kindly if he comes to you! And that he", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "MRS. ELVSTED.\n\nDo you know, Lovborg, that what you have done with the book--I shall\nthink of it to my dying day as though you had killed a little child.", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "Lovborg--!\n\n\nTESMAN.\n\nWhat! Has Eilert Lovborg come back? Fancy that, Hedda!\n\n\nHEDDA.", "But no doubt Mr. Lovborg's principles are strict enough now. A converted\nsinner-- [BERTA appears at the hall door.\n\n\nBERTA.", "MRS. ELVSTED.\n\n[Softly, in agony.] Oh, Lovborg, Lovborg--!\n\n\nLOVBORG.", "[Placing BRACK'S hat and overcoat upon the corner settee.] And at the\nworst Mr. Lovborg can remain here with me.\n\n\nBRACK.", "[Hears him coming and says in an indifferent tone.] And this is a view\nfrom the Val d'Ampezzo, Mr. Lovborg. Just look at these peaks! [Looks", "[In agonised foreboding.] Lovborg--what have you done with the\nmanuscript?\n\n\nHEDDA.\n\n[Looks anxiously at him.] Yes, the manuscript--?", "BRACK.\n\n[Glances at her.] Of course Eilert Lovborg was here this morning. Was he\nnot?\n\n\nHEDDA.\n\nYes.", "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?" ], [ "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "[Searching among his books.] And look here--I have got hold of Eilert\nLovborg's new book too. [Offering it to her.] Perhaps you would like to\nglance through it, Hedda? Eh?", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "TESMAN.\n\nYes, or rather all the time I can spare. My own collections must wait in\nthe meantime. Hedda--you understand, eh? I owe this to Eilert's memory.", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "represented as carrying his manuscript around, and especially in Mrs.\nElvsted's production of his rough draft from her pocket; but these are", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "early--fancy that! And Brack had all sorts of arrangements to make--so\nEilert read to me.", "So no one knows that Eilert Lovborg's manuscript is in your possession?\n\n\nTESMAN.\n\nNo. And no one must know it.\n\nHEDDA.", "Yes, so they say. Heaven knows whether it can be worth anything! Ah,\nwhen your new book appears--that will be another story, George! What is\nit to be about?\n\n\nTESMAN.", "GEORGE TESMAN, in a grey walking-suit, with a soft felt hat,\n enters from the hall. He has a number of unbound books under\n his arm and in his pockets.", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "[Springing up.] Oh yes--yes! For heaven's sake--!\n\n\n GEORGE TESMAN, with a letter in his hand, comes from the right\n through the inner room.", "[Replacing the manuscript in its paper and laying the packet on the\ntable.] I brought it, thinking I might read you a little of it this\nevening.\n\n\nTESMAN.", "[Smiling, lays down his hat, and draws a packet wrapped in paper, from\nhis coat pocket.] But when this one appears, George Tesman, you will", "After his book was published he was too restless and unsettled to remain\nwith us.\n\n\nTESMAN.\n\nYes, by-the-bye, Aunt Julia told me he had published a new book.", "TESMAN.\n\n[Goes up to him and shakes him warmly by the hand.] Well, my dear\nEilert--so at last we meet again!\n\n\nEILERT LOVBORG.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Only that he is said to have published a new book.\n\n\nTESMAN.\n\nWhat! Eilert Lovborg! Recently--eh?\n\n\nMISS TESMAN." ], [ "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "Indeed. I remember you often spoke of them while we were abroad.\n\n\nTESMAN.\n\nYes, I missed them terribly. [Goes up to her.] Now you shall see them,\nHedda!", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "BRACK.\n\nWell, now I have said all I had to say; and I had better be getting back\nto town. Good-bye, Mrs. Hedda. [He goes towards the glass door.", "Oh, how terrible! That he should die like that!\n\n\nHEDDA.\n\n[To BRACK.] Was it in the breast?\n\n\nBRACK.", "[In a tone of indignation.] Hedda Gabler married? And married to--\nGeorge Tesman!\n\n\nHEDDA.\n\nYes--so the world goes.", "No, of course not. For that matter, he was away from home himself--\nhe was travelling. Oh, I could bear it no longer, Hedda! I couldn't\nindeed--so utterly alone as I should have been in future.", "Yes, he promised me he would. But nevertheless I thought that to\nHedda--here in the house of life--I ought myself to bring the tidings of\ndeath.\n\n\nHEDDA.", "[Laughing.] Oh, that didn't last long; and it was before I met you,\nHedda. But fancy her being in town!\n\n\nHEDDA.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "HEDDA.\n\nYes, directly after you had gone.\n\n\nTESMAN.\n\nAnd he said that he had torn his manuscript to pieces--eh?", "HEDDA.\n\nThe fault was yours.\n\n\nLOVBORG.\n\nIt was you that broke with me.\n\n\nHEDDA.", "At one time they called him the hope of the family.\n\n\nTESMAN.\n\nAt one time, yes! But he has put an end to all that.\n\n\nHEDDA.", "HEDDA.\n\n[Involuntarily.] I knew it!\n\n\nLOVBORG.\n\nYou can be of no more service to me, Thea.", "Yes, there. With a pistol in his breast-pocket, discharged. The ball had\nlodged in a vital part.\n\n\nHEDDA.\n\nIn the breast--yes?", "[He returns to the inner room and sits beside BRACK.\n\n\nLOVBORG.\n\nAnswer me one thing, Hedda--\n\n\nHEDDA.", "No, no; I am sure it was of him they were talking. And I heard something\nabout the hospital or--\n\n\nTESMAN.\n\nThe hospital?\n\n\nHEDDA.", "HEDDA.\n\nWhat more have you concealed?\n\n\nBRACK.\n\nThis--the event did not happen at his lodgings.", "BRACK.\n\nWhich could not have lasted long in any case.\n\n\nHEDDA.\n\nWhat do you mean?\n\n\nBRACK.", "[During the last words, HEDDA has entered by the hall door.\n\n\nHEDDA." ], [ "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "[During the last words, HEDDA has entered by the hall door.\n\n\nHEDDA.", "HEDDA, dressed to receive callers, is alone in the room. She\n stands by the open glass door, loading a revolver. The\n fellow to it lies in an open pistol-case on the writing-\n table.", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "Oh, how terrible! That he should die like that!\n\n\nHEDDA.\n\n[To BRACK.] Was it in the breast?\n\n\nBRACK.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "BRACK.\n\nWell, now I have said all I had to say; and I had better be getting back\nto town. Good-bye, Mrs. Hedda. [He goes towards the glass door.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "HEDDA.\n\n[With cold eyes.] General Gabler's pistols.\n\n [She goes out through the inner room, to the left.\n\n\nTESMAN.", "[Clenches his hands.] Oh, why did you not carry out your threat? Why did\nyou not shoot me down?\n\n\nHEDDA.\n\nBecause I have such a dread of scandal.", "Yes, there. With a pistol in his breast-pocket, discharged. The ball had\nlodged in a vital part.\n\n\nHEDDA.\n\nIn the breast--yes?", "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "Yes, yes, I feel it. The end! The end! Oh, Hedda--!\n\n\nTESMAN.\n\nBut tell me, how have you learnt all this?", "HEDDA.\n\n[Firmly.] Death rather than that.\n\n\nBRACK.\n\n[Smiling.] People say such things--but they don't do them.", "HEDDA.\n\n[Involuntarily.] I knew it!\n\n\nLOVBORG.\n\nYou can be of no more service to me, Thea.", "[Rushes up to the middle doorway and calls after her:] No, for heaven's\nsake, Hedda darling--don't touch those dangerous things! For my sake\nHedda! Eh?", "TESMAN.\n\nHimself, then! Fancy that!\n\n\nHEDDA.\n\nShot himself!\n\n\nBRACK.", "Thea said that what I had done seemed to her like a child-murder.\n\n\nHEDDA.\n\nYes, so she said.\n\n\nLOVBORG.", "[Who has been gazing at her with folded hands.] Hedda is lovely--\nlovely--lovely. [Goes up to her, takes her head between both hands,", "MRS. ELVSTED.\n\n[Breathing heavily.] It is all over then. Well well, now I will go,\nHedda.\n\n\nHEDDA." ], [ "[Lightly.] Eilert Lovborg has been in your neighbourhood about three\nyears, hasn't he?\n\n\nMRS. ELVSTED.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "you see, we agreed to take Eilert home; for he had had far more than was\ngood for him.", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "TESMAN.\n\nHave you heard anything of Eilert? Since I went away, I mean.\n\n\nMISS TESMAN.", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Only that he is said to have published a new book.\n\n\nTESMAN.\n\nWhat! Eilert Lovborg! Recently--eh?\n\n\nMISS TESMAN.", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "TESMAN.\n\nYes, or rather all the time I can spare. My own collections must wait in\nthe meantime. Hedda--you understand, eh? I owe this to Eilert's memory.", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN.", "EILERT LOVBORG enters from the hall. He is slim and lean;\n of the same age as TESMAN, but looks older and somewhat", "LOVBORG.\n\nOf course.\n\n\nTESMAN.\n\n\nWhy, my dear Eilert--does it not come down to our own days?", "early--fancy that! And Brack had all sorts of arrangements to make--so\nEilert read to me.", "call it our night coffee--eh? But now, when I have rested a little, and\ngiven Eilert, poor fellow, time to have his sleep out, I must take this\nback to him.", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "EILERT LOVBORG, with his greatcoat on and his hat in his\n hand, tears open the hall door. He looks somewhat confused\n and irritated.\n\n\nLOVBORG.", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert" ], [ "[Returns his look.] Yes, perhaps. [She crosses to the writing-table.\nSuppressing an involuntary smile, she imitates TESMAN'S intonations.]\nWell? Are you getting on, George? Eh?", "TESMAN.\n\nIsn't that good news, Hedda? Think of that.\n\n\nMRS. ELVSTED.\n\nAh yes, if only it would last!", "[With a little hesitation, rising and resting his hands on the back of\nhis chair.] My dear Tesman--and you too, Mrs. Tesman--I think I ought\nnot to keep you in the dark about something that--that--", "[Quickly, whispering.] The parcel, Tesman!\n\n [She snatches it up from the stool.\n\n\nTESMAN.\n\nYes, give it to me!", "And then, you see, Tesman hasn't cared to come home and ring us up in\nthe middle of the night. [Laughing.] Perhaps he wasn't inclined to show\nhimself either--immediately after a jollification.", "[Tossing her head.] Oh, you're thinking of the annoyances about this\nwretched professorship! But that must be Tesman's own affair. I assure\nyou I shall not waste a thought upon it.", "[Keeping his eyes fixed upon her.] Unfortunately you have guessed quite\ncorrectly, Mrs. Tesman.\n\n\nMRS. ELVSTED.\n\nOh, how horrible!", "[Glancing towards the inner room.] Hush! Here comes Tesman. [Rises and\nwhispers.] Thea--all this must remain between you and me.\n\n\nMRS. ELVSTED.", "No, no, Tesman--you really mustn't ask that of me. I have told you so\nalready. I shall try to call her \"Aunt\"; and you must be satisfied with\nthat.\n\n\nTESMAN.", "[Laughing.] Oh fie, Mrs. Hedda! Well, then--you and Tesman--?\n\n\nHEDDA.", "TESMAN.\n\nThat concerns Eilert--?\n\n\nBRACK.\n\nBoth you and him.\n\n\nTESMAN.", "TESMAN.\n\n[Goes up to him and shakes him warmly by the hand.] Well, my dear\nEilert--so at last we meet again!\n\n\nEILERT LOVBORG.", "[Looking towards the ladies.] Mrs. Elvsted? Of course, I'll come again\nand fetch her. [Approaching.] At ten or thereabouts, Mrs. Tesman? Will\nthat do?\n\n\nHEDDA.", "Why, my dear, good Thea--to think of you daring to do it!\n\n\nMRS. ELVSTED.\n\n[Rises and moves about the room.] What else could I possibly do?", "HEDDA.\n\nWell, my dear--I should say, when he sends you after him all the way\nto town-- [Smiling almost imperceptibly.] And besides, you said so\nyourself, to Tesman.", "HEDDA.\n\nDon't speak so loud. Mrs. Elvsted is resting in my room.\n\n\nTESMAN.\n\nHas Mrs. Elvsted been here all night?", "HEDDA.\n\n[Behind Mrs. Elvsted's chair, gently ruffling her hair.] Well, my sweet\nThea,--how goes it with Eilert Lovborg's monument?", "Dear me, is she indeed? Then on no account let me detain you. At such a\ncritical moment--\n\n\nTESMAN.\n\nYes, I must really rush-- Good-bye! Good-bye!", "[Offering to take his things.] Oh, allow me, Mrs. Tesman!--What do you\nmean by \"At the worst\"?\n\n\nHEDDA.\n\nIf he won't go with you and Tesman.", "HEDDA.\n\nBut the Judge could not guess that. And I say, too, the way he smiled\nand glanced at Tesman when you dared not accept his invitation to this\nwretched little supper-party of his." ], [ "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "BRACK.\n\n[Glances at her.] Of course Eilert Lovborg was here this morning. Was he\nnot?\n\n\nHEDDA.\n\nYes.", "[Whispers.] What did you say about the pistol?\n\n\nBRACK.\n\n[Softly.] That he must have stolen it.\n\n\nHEDDA.", "BRACK.\n\nIs there nothing in it, then?\n\n\nHEDDA.\n\nOh yes, there is something in it.\n\n\nBRACK.", "HEDDA.\n\nYes, no doubt. And there--there he was found?\n\n\nBRACK.", "HEDDA.\n\n[Changing her tone.] But tell me now, Judge--what is your real reason\nfor tracking out Eilert Lovborg's movements so carefully?\n\n\nBRACK.", "Why stolen it?\n\n\nBRACK.\n\nBecause every other explanation ought to be impossible, Mrs. Hedda.\n\n\nHEDDA.\n\nIndeed?", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "BRACK.\n\nYes. I fancy it will prove a costly frolic for Eilert Lovborg, crazy\nbeing that he is.\n\n\nHEDDA.\n\nHow so?", "BRACK.\n\nI had special reasons for keeping track of my guests--last night.\n\n\nHEDDA.\n\nOf Eilert Lovborg among the rest, perhaps?", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "The pistol he carried--\n\n\nHEDDA.\n\n[Breathless.] Well? What of it?\n\n\nBRACK.\n\nHe must have stolen it.", "And where was you pistol-case during that time?\n\n\nHEDDA.\n\nI had it locked up in--\n\n\nBRACK.", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "BRACK.\n\n[Shaking his head.] Now my dear Mrs. Hedda, how could you do such a\nthing? To the excellent old lady, too!\n\n\nHEDDA.", "BRACK.\n\nWhich could not have lasted long in any case.\n\n\nHEDDA.\n\nWhat do you mean?\n\n\nBRACK.", "Oh, how terrible! That he should die like that!\n\n\nHEDDA.\n\n[To BRACK.] Was it in the breast?\n\n\nBRACK.", "BRACK.\n\nWell, now I have said all I had to say; and I had better be getting back\nto town. Good-bye, Mrs. Hedda. [He goes towards the glass door.", "hanging lamp, and are soon deep in an eager examination of\n the papers. HEDDA crosses to the stove and sits in the arm-\n chair. Presently BRACK goes up to her." ], [ "[In a tone of indignation.] Hedda Gabler married? And married to--\nGeorge Tesman!\n\n\nHEDDA.\n\nYes--so the world goes.", "My accepting George Tesman, you mean?\n\n\nBRACK.\n\nWell, let us put it so.\n\n\nHEDDA.", "Well well, I daresay you two want to talk to each other. [Smiling.] And\nperhaps Hedda may have something to tell you too, George. Good-bye! I", "BERTA.\n\nYes, indeed--I remember well enough!--But, good Lord, I should never\nhave dreamt in those days that she and Master George would make a match\nof it.", "[Suddenly changing her tone.] And to think that here are you a married\nman, George!--And that you should be the one to carry off Hedda Gabler", "You have assuredly no reason to.\n\n\nHEDDA.\n\nOh, reasons-- [Watching him closely.] And George Tesman--after all, you\nmust admit that he is correctness itself.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?", "[Laughing to herself.] Yes, of course I do. You are quite right there.\n[Changing the subject.] But we were talking about your journey. It must\nhave cost a great deal of money, George?\n\n\nTESMAN.", "draws it downwards, and kisses her hair.] God bless and preserve Hedda\nTesman--for George's sake.", "[Suppressing an almost imperceptible smile.] I did it for your sake,\nGeorge.\n\n\nTESMAN.\n\nFor my sake!\n\n\nHEDDA.", "We must make the best of it, Berta. There was nothing else to be done.\nGeorge can't do without you, you see-he absolutely can't. He has had you\nto look after him ever since he was a little boy.", "No, no, not yet! But I must certainly tell Aunt Julia. And then that you\nhave begun to call me George too! Fancy that! Oh, Aunt Julia will be so\nhappy--so happy!\n\n\nHEDDA.", "[At the table, looks at her.] Back to him?\n\n\nHEDDA.\n\nOf course.\n\n\nMRS. ELVSTED.", "LOVBORG.\n\nAh, I understand. It is an offence against George Tesman, whom\nyou(10)--love.\n\n\nHEDDA.", "Oh, her end was so calm, so beautiful. And then she had the unspeakable\nhappiness of seeing George once more--and bidding him good-bye.--Has he\nnot come home yet?\n\n\nHEDDA.", "To make a long story short--he landed at last in Mademoiselle Diana's\nrooms.\n\n\nHEDDA.\n\nMademoiselle Diana's?\n\n\nBRACK.", "a married man! We have married on the strength of these prospects, Hedda\nand I; and run deep into debt; and borrowed money from Aunt Julia too.", "But that would never have done, you know! Think of Hedda, my dear\nfellow! You, who know her so well--! I couldn't possibly ask her to put\nup with a shabby style of living!", "Well-amongst other things, because you have got exactly the home you had\nset your heart on.\n\n\nHEDDA.\n\n[Looks up at him and laughs.] Do you too believe in that legend?", "HEDDA.\n\n[Coldly, controlling herself.] All this--absurdity--George.\n\n\nTESMAN." ], [ "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "TESMAN.\n\n[Goes up to him and shakes him warmly by the hand.] Well, my dear\nEilert--so at last we meet again!\n\n\nEILERT LOVBORG.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "TESMAN.\n\nYes, think of that, Eilert,--why shouldn't you? Eh?\n\n\nHEDDA.", "EILERT LOVBORG enters from the hall. He is slim and lean;\n of the same age as TESMAN, but looks older and somewhat", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "you see, we agreed to take Eilert home; for he had had far more than was\ngood for him.", "BERTA.\n\nYes, indeed--I remember well enough!--But, good Lord, I should never\nhave dreamt in those days that she and Master George would make a match\nof it.", "TESMAN.\n\nThat concerns Eilert--?\n\n\nBRACK.\n\nBoth you and him.\n\n\nTESMAN.", "and gives HEDDA her hand. EILERT LOVBORG has risen. He and\n MRS. ELVSTED greet each other with a silent nod.", "Well well, I daresay you two want to talk to each other. [Smiling.] And\nperhaps Hedda may have something to tell you too, George. Good-bye! I", "[Lightly.] Eilert Lovborg has been in your neighbourhood about three\nyears, hasn't he?\n\n\nMRS. ELVSTED.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN." ], [ "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "Hedda, has no message come from Eilert Lovborg? Eh?\n\n\nHEDDA.\n\nNo.\n\n\nTESMAN.", "Oh, it's not that alone. It's Eilert I am so terribly uneasy about.\n\n\nHEDDA.\n\n[Quickly.] Is there anything new about him?", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "and gives HEDDA her hand. EILERT LOVBORG has risen. He and\n MRS. ELVSTED greet each other with a silent nod.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "HEDDA.\n\n[Behind Mrs. Elvsted's chair, gently ruffling her hair.] Well, my sweet\nThea,--how goes it with Eilert Lovborg's monument?", "HEDDA.\n\n[Changing her tone.] But tell me now, Judge--what is your real reason\nfor tracking out Eilert Lovborg's movements so carefully?\n\n\nBRACK.", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "[With a violent movement of terror.] Burnt! Burnt Eilert's manuscript!\n\n\nHEDDA.\n\nDon't scream so. The servant might hear you.", "Why, bless me--then Aunt Julia was right after all! Oh yes--I knew it!\nHedda! Just fancy--Eilert Lovborg is not going to stand in our way!\n\n\nHEDDA.", "BERTA enters from the hall.\n\n\nBERTA.\n\nJudge Brack wishes to know if Mrs. Tesman will receive him.\n\n\nHEDDA.", "BRACK.\n\n[Glances at her.] Of course Eilert Lovborg was here this morning. Was he\nnot?\n\n\nHEDDA.\n\nYes.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "Lovborg--!\n\n\nTESMAN.\n\nWhat! Has Eilert Lovborg come back? Fancy that, Hedda!\n\n\nHEDDA.", "MRS. ELVSTED.\n\n[Wringing her hands.] Oh, Hedda--do you hear what his is asking?\n\n\nLOVBORG.", "HEDDA.\n\n[In a low voice.] Oh, what a sense of freedom it gives one, this act of\nEilert Lovborg's.\n\n\nBRACK.", "HEDDA.\n\nYes, by-the-bye--Mrs. Elvsted--\n\n\nTESMAN.\n\nHad you forgotten her? Eh?", "Oh yes--in her leisure moments. And moreover a mighty huntress--of\nmen--Mrs. Hedda. You have no doubt heard of her. Eilert Lovborg was one" ], [ "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "I don't answer such questions. I only know that Eilert Lovborg has had\nthe courage to live his life after his own fashion. And then--the last", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "[Rising quickly and uneasily.] And now I beg and implore you, Mr.\nTesman--receive Eilert Lovborg kindly if he comes to you! And that he", "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "you see, we agreed to take Eilert home; for he had had far more than was\ngood for him.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "BRACK.\n\nLovborg, as well as the others, had been invited in advance. I knew all\nabout it. But he had declined the invitation; for now, as you know, he\nhas become a new man.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "But no doubt Mr. Lovborg's principles are strict enough now. A converted\nsinner-- [BERTA appears at the hall door.\n\n\nBERTA.", "and thereafter adopted \"Eilert Lovborg\" as his pseudonym. I do not,\ntherefore, see why Dr. Brandes should suppress his real name; but I", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN.", "[Lightly.] Eilert Lovborg has been in your neighbourhood about three\nyears, hasn't he?\n\n\nMRS. ELVSTED.", "HEDDA.\n\n[In a low voice.] Oh, what a sense of freedom it gives one, this act of\nEilert Lovborg's.\n\n\nBRACK.", "BRACK.\n\n[Glances at her.] Of course Eilert Lovborg was here this morning. Was he\nnot?\n\n\nHEDDA.\n\nYes.", "And for Eilert Lovborg, Thea?\n\n\nMRS. ELVSTED.\n\n[Looking at her.] For Eilert Lovborg? What puts that into your head?", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now." ], [ "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "TESMAN.\n\nBut who can my competitor be? Surely not--?\n\n\nBRACK.\n\nYes, precisely--Eilert Lovborg.", "and thereafter adopted \"Eilert Lovborg\" as his pseudonym. I do not,\ntherefore, see why Dr. Brandes should suppress his real name; but I", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "TESMAN.\n\nYes, think of that, Eilert,--why shouldn't you? Eh?\n\n\nHEDDA.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "TESMAN.\n\nWell but, my dear Eilert--!\n\n\nLOVBORG.\n\nFor now I mean to win myself a position again--to make a fresh start.", "Yes, indeed it is. Only think, Berta--some foreign university has made\nhim a doctor--while he has been abroad, you understand. I hadn't heard a\nword about it, until he told me himself upon the pier.", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Oh, it's not that alone. It's Eilert I am so terribly uneasy about.\n\n\nHEDDA.\n\n[Quickly.] Is there anything new about him?", "You have assuredly no reason to.\n\n\nHEDDA.\n\nOh, reasons-- [Watching him closely.] And George Tesman--after all, you\nmust admit that he is correctness itself.", "[Rising quickly and uneasily.] And now I beg and implore you, Mr.\nTesman--receive Eilert Lovborg kindly if he comes to you! And that he", "Yes, when our friendship threatened to develop into something more\nserious. Shame upon you, Eilert Lovborg! How could you think of wronging\nyour--your frank comrade.\n\n\nLOVBORG.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?" ], [ "HEDDA.\n\n[Changing her tone.] But tell me now, Judge--what is your real reason\nfor tracking out Eilert Lovborg's movements so carefully?\n\n\nBRACK.", "HEDDA.\n\nBut the Judge could not guess that. And I say, too, the way he smiled\nand glanced at Tesman when you dared not accept his invitation to this\nwretched little supper-party of his.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "Why, because I have a shrewd suspicion that he intends to use you as a\nsort of blind.\n\n\nHEDDA.\n\nOh, how can you think such a thing!", "BRACK.\n\n[Smiling.] And that would perhaps be the safest plan for him.\n\n\nHEDDA.\n\nWhy so?\n\n\nBRACK.", "Yes, my dear, good Hedda, if you only would.\n\n\nHEDDA.\n\nWhen you call this afternoon, you might invite her to spend the evening\nhere.", "Well well, I daresay you two want to talk to each other. [Smiling.] And\nperhaps Hedda may have something to tell you too, George. Good-bye! I", "BRACK.\n\nYes. I fancy it will prove a costly frolic for Eilert Lovborg, crazy\nbeing that he is.\n\n\nHEDDA.\n\nHow so?", "BRACK.\n\nI had special reasons for keeping track of my guests--last night.\n\n\nHEDDA.\n\nOf Eilert Lovborg among the rest, perhaps?", "HEDDA.\n\n[In a low voice.] Oh, what a sense of freedom it gives one, this act of\nEilert Lovborg's.\n\n\nBRACK.", "BRACK.\n\nBut my dear fellow, you are booked for my bachelor's party this evening.\nYou promised on the pier last night.\n\n\nHEDDA.", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "BRACK.\n\n[With a glance at HEDDA.] With the very greatest of pleasure.\n\n\nHEDDA.", "HEDDA.\n\nBut I can. [To BERTA.] Ask Judge Brack to come in. [BERTA goes out.\n\n\nHEDDA.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?", "Well?\n\n\nHEDDA.\n\nThere is this in it, that I made use of Tesman to see me home from\nevening parties last summer--\n\n\nBRACK.", "[He hastens out by the hall door.\n\n\nHEDDA.\n\n[Approaching.] You seem to have made a particularly lively night of it\nat your rooms, Judge Brack.", "HEDDA.\n\n[Looks down the garden, and calls:] So you are here again, Judge!\n\n\nBRACK.", "Well, what do you think? Won't you tell me?\n\n\nHEDDA.\n\nWhy, of course it has been a very late affair at Judge Brack's--" ], [ "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "[Searching among his books.] And look here--I have got hold of Eilert\nLovborg's new book too. [Offering it to her.] Perhaps you would like to\nglance through it, Hedda? Eh?", "TESMAN.\n\nYes, or rather all the time I can spare. My own collections must wait in\nthe meantime. Hedda--you understand, eh? I owe this to Eilert's memory.", "So no one knows that Eilert Lovborg's manuscript is in your possession?\n\n\nTESMAN.\n\nNo. And no one must know it.\n\nHEDDA.", "represented as carrying his manuscript around, and especially in Mrs.\nElvsted's production of his rough draft from her pocket; but these are", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "GEORGE TESMAN, in a grey walking-suit, with a soft felt hat,\n enters from the hall. He has a number of unbound books under\n his arm and in his pockets.", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "Who knows? [With a slight smile.] I hear they have reclaimed him up at\nSheriff Elvsted's--\n\n\nBRACK.\n\nAnd then this book that he has published--", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "and thereafter adopted \"Eilert Lovborg\" as his pseudonym. I do not,\ntherefore, see why Dr. Brandes should suppress his real name; but I", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "or two more quires into the stove.] Your child and Eilert Lovborg's.\n[Throws the rest in.] I am burning--I am burning your child.", "Yes, so they say. Heaven knows whether it can be worth anything! Ah,\nwhen your new book appears--that will be another story, George! What is\nit to be about?\n\n\nTESMAN.", "Yes, it is the whole of his precious, irreplaceable manuscript! And he\nhad gone and lost it, and knew nothing about it. Only fancy, Hedda! So\ndeplorably--\n\n\nHEDDA.", "[Smiling, lays down his hat, and draws a packet wrapped in paper, from\nhis coat pocket.] But when this one appears, George Tesman, you will", "Oh, her end was so calm, so beautiful. And then she had the unspeakable\nhappiness of seeing George once more--and bidding him good-bye.--Has he\nnot come home yet?\n\n\nHEDDA.", "[Springing up.] Oh yes--yes! For heaven's sake--!\n\n\n GEORGE TESMAN, with a letter in his hand, comes from the right\n through the inner room." ], [ "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "I don't answer such questions. I only know that Eilert Lovborg has had\nthe courage to live his life after his own fashion. And then--the last", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "No. But you will have to answer the question: Why did you give Eilert\nthe pistol? And what conclusions will people draw from the fact that you\ndid give it to him?\n\n\nHEDDA.", "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "Well then, somewhere else. I don't know exactly. I only know that he was\nfound--. He had shot himself--in the breast.\n\n\nMRS. ELVSTED.", "Perhaps it may. For I must tell you--Eilert Lovborg was found shot\nin--in Mademoiselle Diana's boudoir.\n\n\nHEDDA.", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "[Clenches his hands.] Oh, why did you not carry out your threat? Why did\nyou not shoot me down?\n\n\nHEDDA.\n\nBecause I have such a dread of scandal.", "or two more quires into the stove.] Your child and Eilert Lovborg's.\n[Throws the rest in.] I am burning--I am burning your child.", "[Eagerly.] Well?\n\n\nHEDDA.\n\nThe fact that I dared not shoot you down--\n\n\nLOVBORG.\n\nYes!" ], [ "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "HEDDA.\n\n[Changing her tone.] But tell me now, Judge--what is your real reason\nfor tracking out Eilert Lovborg's movements so carefully?\n\n\nBRACK.", "BRACK.\n\n[Glances at her.] Of course Eilert Lovborg was here this morning. Was he\nnot?\n\n\nHEDDA.\n\nYes.", "_I_ don't say so. But that was how Judge Brack understood it.\n\n\nLOVBORG.\n\nWell, let him.\n\n\nHEDDA.", "BRACK.\n\nAbsolutely mortal. The end has probably come by this time.\n\n\nMRS. ELVSTED.", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "MRS. ELVSTED.\n\n[Unable to restrain her anxiety.] Oh! it is something about Eilert\nLovborg!\n\n\nBRACK.", "BRACK.\n\nYes. I fancy it will prove a costly frolic for Eilert Lovborg, crazy\nbeing that he is.\n\n\nHEDDA.\n\nHow so?", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "Yes, ask Judge Brack to come in. And look here--put this letter in the\npost.\n\n\nBERTA. [Taking the letter.] Yes, ma'am.", "[He hastens out by the hall door.\n\n\nHEDDA.\n\n[Approaching.] You seem to have made a particularly lively night of it\nat your rooms, Judge Brack.", "[Makes a motion as if to rise, but sinks back again.] That is\nimpossible, Judge Brack! He cannot have been there again to-day.\n\n\nBRACK.", "Well well--don't get so excited about it. It's only a matter of form you\nknow--Judge Brack assured me of that. It was he that was kind enough to", "Of the lively kind?\n\n\nBRACK.\n\nOf the very liveliest--\n\n\nHEDDA.\n\nTell me more of this, Judge Brack--", "BERTA enters from the hall.\n\n\nBERTA.\n\nJudge Brack wishes to know if Mrs. Tesman will receive him.\n\n\nHEDDA.", "BRACK.\n\nYes, perhaps there may be.\n\n\nHEDDA.\n\nWell then, sit down, my dear Judge, and tell your story in comfort.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "Yes, I gathered that you had had an exceedingly jolly evening at Judge\nBrack's.\n\n\nLOVBORG.\n\nNothing more?\n\n\nHEDDA.", "[In suspense.] Anything sad, Judge Brack?\n\n\nBRACK.\n\nThat, too, depends on how you look at it, Mrs. Tesman." ], [ "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "Yes, yes, I feel it. The end! The end! Oh, Hedda--!\n\n\nTESMAN.\n\nBut tell me, how have you learnt all this?", "[During the last words, HEDDA has entered by the hall door.\n\n\nHEDDA.", "[In a clear voice.] At last a deed worth doing!\n\n\nTESMAN.\n\n[Terrified.] Good heavens, Hedda! what are you saying?", "HEDDA, dressed to receive callers, is alone in the room. She\n stands by the open glass door, loading a revolver. The\n fellow to it lies in an open pistol-case on the writing-\n table.", "I have destroyed it none the less--utterly destroyed it, Hedda!\n\n\nHEDDA.\n\nI don't understand.\n\n\nLOVBORG.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "[Clenches his hands.] Oh, why did you not carry out your threat? Why did\nyou not shoot me down?\n\n\nHEDDA.\n\nBecause I have such a dread of scandal.", "HEDDA.\n\n[Firmly.] Death rather than that.\n\n\nBRACK.\n\n[Smiling.] People say such things--but they don't do them.", "Well, perhaps it would be the right thing to do, Hedda? Eh?\n\n\nHEDDA.\n\nAnd the sooner the better. Why not at once?", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "None. I will only try to make an end of it all--the sooner the better.\n\n\nHEDDA.", "[Who has been gazing at her with folded hands.] Hedda is lovely--\nlovely--lovely. [Goes up to her, takes her head between both hands,", "[Rushes up to the middle doorway and calls after her:] No, for heaven's\nsake, Hedda darling--don't touch those dangerous things! For my sake\nHedda! Eh?", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "BRACK.\n\nWell, now I have said all I had to say; and I had better be getting back\nto town. Good-bye, Mrs. Hedda. [He goes towards the glass door.", "MRS. ELVSTED.\n\n[Breathing heavily.] It is all over then. Well well, now I will go,\nHedda.\n\n\nHEDDA.", "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "HEDDA.\n\n[With cold eyes.] General Gabler's pistols.\n\n [She goes out through the inner room, to the left.\n\n\nTESMAN.", "MRS. ELVSTED.\n\n[Softly.] Oh, Hedda, Hedda--how could you do this?\n\n\nHEDDA." ], [ "Norway.", "that the scene is really the \"west end\" of any European city. To me\nit seems quite clear that Ibsen had Christiania in mind, and the", "Christiania of a somewhat earlier period than the 'nineties. The\nelectric cars, telephones, and other conspicuous factors in the life of\na modern capital are notably absent from the play. There is no electric", "**In the original \"Assessor.\"\n\n\n The scene of the action is Tesman's villa, in the west end\n of Christiania.", "Lovborg's allusions to the fiord, and the suggested picture of Sheriff\nElvsted, his family and his avocations are all distinctively Norwegian.", "This \"suburbanism,\" which so distressed the London critics of 1891,\nwas characteristic of the Christiania Ibsen himself had known in the", "February 25 was the play seen in Copenhagen, with Fru Hennings as Hedda.\nOn the following night it was given for the first time in Christiania,", "The truth seems to be very simple--the environment and the subsidiary\npersonages are all thoroughly national, but Hedda herself is an\n\"international\" type, a product of civilisation by no means peculiar to", "the Norwegian Hedda being Froken Constance Bruun. It was this production\nwhich the poet saw when he visited the Christiania Theater for the first", "*Tesman, whose Christian name in the original is \"Jorgen,\" is\n described as \"stipendiat i kulturhistorie\"--that is to say, the", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "[Opening the album.] Do you see this range of mountains, Mr. Lovborg?\nIt's the Ortler group. Tesman has written the name underneath. Here it\nis: \"The Ortler group near Meran.\"", "Oh yes--in her leisure moments. And moreover a mighty huntress--of\nmen--Mrs. Hedda. You have no doubt heard of her. Eilert Lovborg was one", "(9)He uses the familiar _du_.\n\n (10)From this point onward Lovborg use the formal _De_.", "Indeed. I remember you often spoke of them while we were abroad.\n\n\nTESMAN.\n\nYes, I missed them terribly. [Goes up to her.] Now you shall see them,\nHedda!", "letters to Fraulein Emilie Bardach, of Vienna, published by Dr. George\nBrandes.(2) This young lady Ibsen met at Gossensass in the Tyrol in", "[Hears him coming and says in an indifferent tone.] And this is a view\nfrom the Val d'Ampezzo, Mr. Lovborg. Just look at these peaks! [Looks", "Ibsen had no doubt heard how the wife of a well-known Norwegian\ncomposer, in a fit of raging jealousy excited by her husband's prolonged", "HEDDA.\n\n[Involuntarily.] I knew it!\n\n\nLOVBORG.\n\nYou can be of no more service to me, Thea." ], [ "Oh yes--in her leisure moments. And moreover a mighty huntress--of\nmen--Mrs. Hedda. You have no doubt heard of her. Eilert Lovborg was one", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "MRS. ELVSTED.\n\n[Unable to restrain her anxiety.] Oh! it is something about Eilert\nLovborg!\n\n\nBRACK.", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "EILERT LOVBORG enters from the hall. He is slim and lean;\n of the same age as TESMAN, but looks older and somewhat", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "[Lightly.] Eilert Lovborg has been in your neighbourhood about three\nyears, hasn't he?\n\n\nMRS. ELVSTED.", "For the character of Eilert Lovborg, again, Ibsen seem unquestionably\nto have borrowed several traits from a definite original. A young Danish", "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "LOVBORG.\n\nOf course.\n\n\nTESMAN.\n\n\nWhy, my dear Eilert--does it not come down to our own days?", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN.", "saw the outline of the figure of Eilert Lovborg.", "A terrible coward. [Changing her tone.] But it was a lucky thing for\nyou. And now you have found ample consolation at the Elvsteds'.\n\n\nLOVBORG.", "EILERT LOVBORG, with his greatcoat on and his hat in his\n hand, tears open the hall door. He looks somewhat confused\n and irritated.\n\n\nLOVBORG.", "[Looking hard at her.] Eilert Lovborg was more to you than perhaps you\nare willing to admit to yourself. Am I wrong?\n\n\nHEDDA.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "TESMAN.\n\nBut who can my competitor be? Surely not--?\n\n\nBRACK.\n\nYes, precisely--Eilert Lovborg." ], [ "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "[Gives her his hand.] And we too--eh?\n\n\nHEDDA.\n\nThanks for your lovely flowers--\n\n\nMRS. ELVSTED.", "Take it--and do you use it now.\n\n\nLOVBORG.\n\n[Puts the pistol in his breast pocket.] Thanks!\n\n\nHEDDA.", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "and gives HEDDA her hand. EILERT LOVBORG has risen. He and\n MRS. ELVSTED greet each other with a silent nod.", "HEDDA.\n\n[With cold eyes.] General Gabler's pistols.\n\n [She goes out through the inner room, to the left.\n\n\nTESMAN.", "[Who has been gazing at her with folded hands.] Hedda is lovely--\nlovely--lovely. [Goes up to her, takes her head between both hands,", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "Hedda, has no message come from Eilert Lovborg? Eh?\n\n\nHEDDA.\n\nNo.\n\n\nTESMAN.", "[Rushes up to the middle doorway and calls after her:] No, for heaven's\nsake, Hedda darling--don't touch those dangerous things! For my sake\nHedda! Eh?", "No. But you will have to answer the question: Why did you give Eilert\nthe pistol? And what conclusions will people draw from the fact that you\ndid give it to him?\n\n\nHEDDA.", "HEDDA.\n\n[Behind Mrs. Elvsted's chair, gently ruffling her hair.] Well, my sweet\nThea,--how goes it with Eilert Lovborg's monument?", "It's from Aunt Julia! What can it be? [He lays the packet on the other\nfootstool, opens the letter, runs his eye through it, and jumps up.] Oh,\nHedda--she says that poor Aunt Rina is dying!", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "MRS. ELVSTED.\n\n[Wringing her hands.] Oh, Hedda--do you hear what his is asking?\n\n\nLOVBORG.", "HEDDA.\n\n[In a low voice.] Oh, what a sense of freedom it gives one, this act of\nEilert Lovborg's.\n\n\nBRACK.", "[Searches in the pocket of her dress.] Look here. I have kept all the\nloose notes he used to dictate from.\n\n\nHEDDA.\n\n[A step forward.] Ah--!", "[HEDDA listens for a moment at the door. Then she goes up to\n the writing-table, takes out the packet of manuscript, peeps", "hanging lamp, and are soon deep in an eager examination of\n the papers. HEDDA crosses to the stove and sits in the arm-\n chair. Presently BRACK goes up to her." ], [ "[With a violent movement of terror.] Burnt! Burnt Eilert's manuscript!\n\n\nHEDDA.\n\nDon't scream so. The servant might hear you.", "HEDDA.\n\nYes, directly after you had gone.\n\n\nTESMAN.\n\nAnd he said that he had torn his manuscript to pieces--eh?", "MRS. ELVSTED.\n\n[Wringing her hands.] Oh God--oh God, Hedda--torn his own work to\npieces!\n\n\nLOVBORG.", "So no one knows that Eilert Lovborg's manuscript is in your possession?\n\n\nTESMAN.\n\nNo. And no one must know it.\n\nHEDDA.", "HEDDA.\n\nAbout the manuscript?\n\n\nLOVBORG.\n\nYes. I have not torn it to pieces--nor thrown it into the fiord.", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "HEDDA.\n\n[In a low voice.] Oh, what a sense of freedom it gives one, this act of\nEilert Lovborg's.\n\n\nBRACK.", "I have destroyed it none the less--utterly destroyed it, Hedda!\n\n\nHEDDA.\n\nI don't understand.\n\n\nLOVBORG.", "HEDDA.\n\n[Behind Mrs. Elvsted's chair, gently ruffling her hair.] Well, my sweet\nThea,--how goes it with Eilert Lovborg's monument?", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "HEDDA.\n\nDid I, really?\n\n\nMRS. ELVSTED.\n\nYes, and once you said you would burn it off my head.", "[HEDDA listens for a moment at the door. Then she goes up to\n the writing-table, takes out the packet of manuscript, peeps", "Hedda, has no message come from Eilert Lovborg? Eh?\n\n\nHEDDA.\n\nNo.\n\n\nTESMAN.", "When she hears that I have burnt Eilert Lovborg's manuscript--for your\nsake?\n\n\nTESMAN.", "No, by-the-bye--that affair of the manuscript--of course nobody must\nknow about that. But that you love me so much,(13) Hedda--Aunt Julia", "TESMAN.\n\nI felt jealous of Eilert for having had it in him to write such a book.\nOnly think, Hedda!\n\n\nHEDDA.", "[In agonised foreboding.] Lovborg--what have you done with the\nmanuscript?\n\n\nHEDDA.\n\n[Looks anxiously at him.] Yes, the manuscript--?" ], [ "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "Oh, how terrible! That he should die like that!\n\n\nHEDDA.\n\n[To BRACK.] Was it in the breast?\n\n\nBRACK.", "HEDDA, dressed to receive callers, is alone in the room. She\n stands by the open glass door, loading a revolver. The\n fellow to it lies in an open pistol-case on the writing-\n table.", "[During the last words, HEDDA has entered by the hall door.\n\n\nHEDDA.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "Yes, there. With a pistol in his breast-pocket, discharged. The ball had\nlodged in a vital part.\n\n\nHEDDA.\n\nIn the breast--yes?", "[Clenches his hands.] Oh, why did you not carry out your threat? Why did\nyou not shoot me down?\n\n\nHEDDA.\n\nBecause I have such a dread of scandal.", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "HEDDA.\n\n[With cold eyes.] General Gabler's pistols.\n\n [She goes out through the inner room, to the left.\n\n\nTESMAN.", "HEDDA.\n\n[Firmly.] Death rather than that.\n\n\nBRACK.\n\n[Smiling.] People say such things--but they don't do them.", "[Rushes up to the middle doorway and calls after her:] No, for heaven's\nsake, Hedda darling--don't touch those dangerous things! For my sake\nHedda! Eh?", "Yes, yes, I feel it. The end! The end! Oh, Hedda--!\n\n\nTESMAN.\n\nBut tell me, how have you learnt all this?", "BRACK.\n\nWell, now I have said all I had to say; and I had better be getting back\nto town. Good-bye, Mrs. Hedda. [He goes towards the glass door.", "[Shrieks.] Oh God! oh God--!\n\n\nTESMAN.\n\nTo the hospital! And at the point of death!\n\n\nHEDDA.", "[Who has been gazing at her with folded hands.] Hedda is lovely--\nlovely--lovely. [Goes up to her, takes her head between both hands,", "I have destroyed it none the less--utterly destroyed it, Hedda!\n\n\nHEDDA.\n\nI don't understand.\n\n\nLOVBORG.", "Take it--and do you use it now.\n\n\nLOVBORG.\n\n[Puts the pistol in his breast pocket.] Thanks!\n\n\nHEDDA.", "None. I will only try to make an end of it all--the sooner the better.\n\n\nHEDDA." ], [ "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "TESMAN.\n\n[Moving about the room.] To think of Eilert going out of the world\nin this way! And not leaving behind him the book that would have\nimmortalised his name--", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Indeed? [Looks at the address.] Why yes, it's addressed in Aunt Julia's\nhand. Well then, he has remained at Judge Brack's. And as for Eilert", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN.", "Well then, somewhere else. I don't know exactly. I only know that he was\nfound--. He had shot himself--in the breast.\n\n\nMRS. ELVSTED.", "you see, we agreed to take Eilert home; for he had had far more than was\ngood for him.", "Yes, I tell you! Tore it into a thousand pieces--and scattered them on\nthe fiord--far out. There there is cool sea-water at any rate--let them", "Oh, how terrible! That he should die like that!\n\n\nHEDDA.\n\n[To BRACK.] Was it in the breast?\n\n\nBRACK.", "Perhaps it may. For I must tell you--Eilert Lovborg was found shot\nin--in Mademoiselle Diana's boudoir.\n\n\nHEDDA.", "[With a violent movement of terror.] Burnt! Burnt Eilert's manuscript!\n\n\nHEDDA.\n\nDon't scream so. The servant might hear you.", "or two more quires into the stove.] Your child and Eilert Lovborg's.\n[Throws the rest in.] I am burning--I am burning your child.", "BRACK.\n\nAbsolutely mortal. The end has probably come by this time.\n\n\nMRS. ELVSTED.", "EILERT LOVBORG, with his greatcoat on and his hat in his\n hand, tears open the hall door. He looks somewhat confused\n and irritated.\n\n\nLOVBORG." ], [ "[In a tone of indignation.] Hedda Gabler married? And married to--\nGeorge Tesman!\n\n\nHEDDA.\n\nYes--so the world goes.", "[Suddenly changing her tone.] And to think that here are you a married\nman, George!--And that you should be the one to carry off Hedda Gabler", "BERTA.\n\nYes, indeed--I remember well enough!--But, good Lord, I should never\nhave dreamt in those days that she and Master George would make a match\nof it.", "And, most of all, now that you have got the wife of your heart, my dear\nGeorge.\n\n\nTESMAN.", "Oh, her end was so calm, so beautiful. And then she had the unspeakable\nhappiness of seeing George once more--and bidding him good-bye.--Has he\nnot come home yet?\n\n\nHEDDA.", "Well well, I daresay you two want to talk to each other. [Smiling.] And\nperhaps Hedda may have something to tell you too, George. Good-bye! I", "[Laughing to herself.] Yes, of course I do. You are quite right there.\n[Changing the subject.] But we were talking about your journey. It must\nhave cost a great deal of money, George?\n\n\nTESMAN.", "MISS TESMAN.\n\nYes, you don't seem to have wasted your time on your wedding trip,\nGeorge.\n\n\nTESMAN.", "Oh yes, I suppose so. [More confidentially, and lowering her voice a\nlittle.] But listen now, George,--have you nothing--nothing special to\ntell me?\n\n\nTESMAN.", "We must make the best of it, Berta. There was nothing else to be done.\nGeorge can't do without you, you see-he absolutely can't. He has had you\nto look after him ever since he was a little boy.", "[Smiling.] George Tesman is really an ingenuous creature, Mrs. Hedda.\n\n\nHEDDA.\n\nYes, heaven knows he is. Then is there something behind all this?", "No, no, not yet! But I must certainly tell Aunt Julia. And then that you\nhave begun to call me George too! Fancy that! Oh, Aunt Julia will be so\nhappy--so happy!\n\n\nHEDDA.", "a married man! We have married on the strength of these prospects, Hedda\nand I; and run deep into debt; and borrowed money from Aunt Julia too.", "Oh, it's no such great things, George. [Looks around her.] My\nparasol--? Ah, here. [Takes it.] For this is mine too-- [mutters] --not\nBerta's.", "MISS TESMAN.\n\nWhy you know, George--I'm your old auntie!\n\n\nTESMAN.\n\nWhy, of course I have expectations.", "MISS TESMAN.\n\nGood morning, good morning, George.\n\n\nTESMAN.", "My accepting George Tesman, you mean?\n\n\nBRACK.\n\nWell, let us put it so.\n\n\nHEDDA.", "HEDDA.\n\n[Coldly, controlling herself.] All this--absurdity--George.\n\n\nTESMAN.", "From that came our engagement and our marriage, and our wedding journey,\nand all the rest of it. Well, well, my dear Judge--as you make your bed\nso you must lie, I could almost say.", "Are they going to make this their everyday sitting-room then?\n\n\nBERTA.\n\nYes, that's what I understood--from the mistress. Master George--the\ndoctor--he said nothing." ], [ "Eilert Lovborg did not shoot himself--voluntarily.\n\n\nHEDDA.\n\nNot voluntarily?\n\n\nBRACK.", "So no one knows that Eilert Lovborg's manuscript is in your possession?\n\n\nTESMAN.\n\nNo. And no one must know it.\n\nHEDDA.", "[He throws back the curtains and runs in, followed by MRS.\n ELVSTED. HEDDA lies stretched on the sofa, lifeless.\n Confusion and cries. BERTA enters in alarm from the right.", "[Is heard calling from a distance.] As you see, Mrs. Tesman!\n\n\nHEDDA.\n\n[Raises the pistol and points.] Now I'll shoot you, Judge Brack!", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "I know what Thea has confided to you.\n\n\nHEDDA.\n\nAnd perhaps you have confided to her something about us?\n\n\nLOVBORG.", "No. But you will have to answer the question: Why did you give Eilert\nthe pistol? And what conclusions will people draw from the fact that you\ndid give it to him?\n\n\nHEDDA.", "The pistol he carried--\n\n\nHEDDA.\n\n[Breathless.] Well? What of it?\n\n\nBRACK.\n\nHe must have stolen it.", "Hedda, has no message come from Eilert Lovborg? Eh?\n\n\nHEDDA.\n\nNo.\n\n\nTESMAN.", "[Eagerly.] Well?\n\n\nHEDDA.\n\nThe fact that I dared not shoot you down--\n\n\nLOVBORG.\n\nYes!", "Well, you need not. I saw the pistol found in Lovborg's pocket, and I\nknew it at once as the one I had seen yesterday--and before, too.\n\n\nHEDDA.", "[To LOVBORG, with his hands on his shoulders.] And now you must make\nyourself entirely at home, Eilert! Mustn't he, Hedda?--For I hear you\nare going to settle in town again? Eh?", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "First, that he is already dead.\n\n\nHEDDA.\n\nAt the hospital?\n\n\nBRACK.\n\nYes--without regaining consciousness.", "[Whispers.] What did you say about the pistol?\n\n\nBRACK.\n\n[Softly.] That he must have stolen it.\n\n\nHEDDA.", "And beautifully, Eilert Lovborg. Promise me that!\n\n\nLOVBORG.\n\nGood-bye, Hedda Gabler. [He goes out by the hall door.", "HEDDA, dressed to receive callers, is alone in the room. She\n stands by the open glass door, loading a revolver. The\n fellow to it lies in an open pistol-case on the writing-\n table.", "Oh, it's not that alone. It's Eilert I am so terribly uneasy about.\n\n\nHEDDA.\n\n[Quickly.] Is there anything new about him?", "Perhaps it may. For I must tell you--Eilert Lovborg was found shot\nin--in Mademoiselle Diana's boudoir.\n\n\nHEDDA.", "Yes, yes, I feel it. The end! The end! Oh, Hedda--!\n\n\nTESMAN.\n\nBut tell me, how have you learnt all this?" ], [ "Oh yes,--for once in a way. Especially the beginning of the evening; for\nthen Eilert read me part of his book. We arrived more than an hour too", "Eilert Lovborg has himself made up his account with life. He has had the\ncourage to do--the one right thing.\n\n\nMRS. ELVSTED.", "[Shrugging his shoulders.] Well, I regret to say Eilert Lovborg has been\ntaken to the hospital. He is lying at the point of death.\n\n\nMRS. ELVSTED.", "Dr. Brandes has dealt very severely with the character of Eilert\nLovborg, alleging that we cannot believe in the genius attributed to", "Nonsense! First you shall have a cup of tea, you little stupid. And\nthen--at ten o'clock--Eilert Lovborg will be here--with vine-leaves in\nhis hair.", "I don't answer such questions. I only know that Eilert Lovborg has had\nthe courage to live his life after his own fashion. And then--the last", "That was very good of you, Eilert. But this evening--? [Looking back at\nBRACK.] I don't see how we can manage it--\n\n\nLOVBORG.", "Oh yes--in her leisure moments. And moreover a mighty huntress--of\nmen--Mrs. Hedda. You have no doubt heard of her. Eilert Lovborg was one", "[Looks at here doubtfully.] Eilert Lovborg? Yes--he has.\n\n\nHEDDA.\n\nHad you known him before, in town here?", "I will indeed, some time or other. [Looks uneasy and downcast again.]\nAnd yet the manuscript--the manuscript! Good God! it is terrible to\nthink what will become of poor Eilert now.", "you see, we agreed to take Eilert home; for he had had far more than was\ngood for him.", "[Lightly.] Eilert Lovborg has been in your neighbourhood about three\nyears, hasn't he?\n\n\nMRS. ELVSTED.", "Well?\n\n\nBRACK.\n\nYour old friend, Eilert Lovborg, has returned to town.\n\n\nTESMAN.\n\nI know that already.", "But now comes the strange part of it, Hedda; or, I should rather say,\nthe melancholy part of it. I declare I am almost ashamed--on Eilert's\naccount--to tell you--", "You mustn't speak of it to a soul, Hedda! Do you hear! Promise me, for\nEilert's sake. [Draws a parcel, wrapped in paper, from his coat pocket.]\nFancy, dear--I found this.", "For the character of Eilert Lovborg, again, Ibsen seem unquestionably\nto have borrowed several traits from a definite original. A young Danish", "LOVBORG.\n\nOf course.\n\n\nTESMAN.\n\n\nWhy, my dear Eilert--does it not come down to our own days?", "Yes, yes--of course it is. Well then, I must tell you--if you don't\nalready know--that Eilert Lovborg is in town, too.\n\n\nHEDDA.", "EILERT LOVBORG enters from the hall. He is slim and lean;\n of the same age as TESMAN, but looks older and somewhat", "[After a moment's thought, says suddenly.] Tell me, Tesman--isn't it\nsomewhere near there that he--that--Eilert Lovborg is living?\n\n\nTESMAN." ] ]

[ "What type of relationship does Hedda have with Tesman's rival?", "Why is George nervous about Eilert's return to Kristiana?", "Who helped Lovborg recover from alcohol abuse?", "How did George get Eilert's new manuscript?", "Where was Hedda's former romantic partner when he died?", "When did Hedda kill herself?", "What has Eilert spent the last few years doing?", "Why does Tesman's wife try to interfere in Thea's relationship with Eilert?", "Which piece of evidence did Brack use to connect Hedda to Eilert's death?", "Why does Kristiana marry George?", "Who is Eilert to George?", "Who is Eilert to Hedda?", "Who is behind Eilert's recovery from alcoholism?", "Why does George think Eilert is a threat for the professorship?", "Why does Hedda encourage Eilert to attend the party with George and Jidge Brack?", "How does George end up in possession of Eilert's sequel manuscript? ", "Why does Eilert kill himself?", "What does Judge Brack know about a Eilert's death?", "What does Hedda ultimately end up doing?", "What is Oslo formerly known as?", "Who is Eilerts former lover?", "What item does Hedda give Eilert?", "What does Hedda do to Eilert's manuscript?", "How does Hedda die?", "WHere does Eilert die?", "Who is Married to george?", "Who knows that Hedda's gun was used by Eilert?", "What vice does Eilert have?" ]

[ [ "former lovers", "They were former lovers." ], [ "George thinks Eilert is competition for a job he wants", "professional competition" ], [ "Thea", "Thea Elvsted" ], [ "Eilert lost it while he was drunk", "he found it" ], [ "in a brothel", "In a brothel. " ], [ "after Brack tried to blackmail her", "After being found out she caused Eilert's death. " ], [ "working on a sequel to his recently published work", "writing a \"masterpiece\" sequel to his recently published work" ], [ "Hedda is jealous of the influence Thea has over him", "Thea's influence on Eilert" ], [ "her pistol", "pistol" ], [ "She feels her youth is over, and she may be pregnant", "She may be pregnant. " ], [ "An academic rival", "rival" ], [ "A former lover", "Her former lover." ], [ "Thea", "Thea" ], [ "Eilert's published work is a recent success", "successful recent work" ], [ "She is jealous over Thea's influence on Eilert ", "She is jealous and hoping to destroy Eilert's relationship with Thea." ], [ "He found it when Eilert lost it while drunk", "He finds it after the party." ], [ "Hedda encourages him to after he admits to losing the manuscript ", "Because he lost the manuscript and Hedda tells him too." ], [ "That Eilert accidentally killed himself in a brother, with a pistol Hedda provided", "messy and accidental" ], [ "Committing suicide", "She kills herself or is shot by someone else" ], [ "Kristiania", "Kristiania" ], [ "Hedda", "Hedda" ], [ "a gun", "A pistol." ], [ "burn it", "burns it " ], [ "Kills herself with gun", "She shoots herself." ], [ "In a brothel ", "in a brothel" ], [ "Hedda ", "hedda" ], [ "Brack", "Judge Brack" ], [ "alchololic", "she is an alcoholic" ] ]

[ [ "Newton,--not the Ralph with whom you have found us to be so intimate,\nbut from the other who will some day be Mr. Newton of Newton Priory.\"", "As we have said, Mr. Neefit had his troubles, and one of his great\ntroubles was our young friend, Ralph Newton. Ralph Newton was a", "was dead. In the hope that the old man might yield in all things,\nthe infant had been christened Ralph; for the old Squire's name was\nRalph, and there had been a Ralph among the Newtons since Newton", "\"And I think that Mr. Ralph Newton,--this Mr. Ralph Newton, is very\ngood for you. Nothing could be so good. In the first place would it", "Three days afterwards Mr. Ralph Newton;--it is hoped that the reader\nmay understand the attempts which are made to designate the two young", "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "wonder what you'll think of Ralph Newton?\" she said. Ralph Newton's\nname had been mentioned before in Mary's hearing more than once.", "RALPH NEWTON.\n\n Richard Carey, Esq.", "Ralph the heir had been brought up a boy at the parsonage of Newton\nPeele, but the other Ralph had never been taken to Newton till after\nhis grandfather's death. The late parson had died within twelve", "hardly knew her cousins, and was quite sure that she was not known by\nthem. She heard that Ralph Newton was a man of fashion, and the heir", "reasons in accordance with which these might be selected and those\nrejected. \"Have you seen much of Ralph Newton lately?\" asked the\nother Ralph.", "Fooks; but no one knew better than did Ralph Newton himself that they\nwere not such friends as he had promised himself when he was younger.", "Neefit was not at that time personally known to Ralph Newton; but\nthe name, as mentioned by his servant, was painfully familiar to him.", "Nevertheless, Sir Thomas did speak to Ralph Newton before\ndinner,--stuttering and muttering, and only half finishing his\nsentence. \"We had a correspondence once, Mr. Newton. I dare say you\nremember.\"", "about Gregory Newton, Ralph's brother.\" Then she did tell the story\nof the clergyman's love and the clergyman's discomfiture; but she", "Ralph Newton,--Ralph of the Priory,--came to dinner, and Miss Spooner\nwas asked to meet him. It might have been supposed that a party", "CHAPTER VIII.\n\nRALPH NEWTON'S TROUBLES.", "of it. It was that other Ralph who should have been looked to as\nthe future proprietor of Newton Priory, and not he, who was hardly\nentitled to call himself a Newton. It would have been more consistent", "\"Mrs. Brownlow would, perhaps, prefer going to bed,\" said Ralph.\nThen every one was gone except the Underwoods and Ralph Newton. The", "knows Ralph Newton as yet, and cannot at all realise the difficulty\nwhich poor Mr. Neefit experienced in coming across any gentleman\nin such a fashion as to be able to commence his operations. It is" ], [ "Newton Priory was at this time inhabited by two gentlemen,--old\nGregory Newton, who for miles round was known as the Squire; and his", "parish of Peele Newton,--as was now Ralph's younger brother, Gregory.\nThe present squire of Newton had been never married, and the\nproperty, as has before been said, had been settled on Ralph, as the", "the Squire's son his cousin,--would make Newton his home for the\nnext twelvemonth. It was found that the Squire had left behind him\nsomething like forty thousand pounds, so that the son was by no means", "the will was as it had been made some six or seven years ago. The\nSquire had simply left all that he possessed to his illegitimate\nson Ralph Newton. There was no difficulty about the will. Nor was", "We will pass over the solemn sadness of the funeral at Newton and\nthe subsequent reading of the old Squire's will. As to the latter,", "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "the season, and the Squire had not been out before. It was now known\nto almost every man there that the owner of Newton Priory had at\nlast succeeded in obtaining the reversion of the estate for his own", "of established ownership. His nephew Gregory, after that last dinner\nof which mention was made, hardly came near him during the next\nfortnight. Once or twice the Squire went up to the church during", "In the last half of this month of October the Squire at Newton was\nvery pressing on his lawyers up in London to settle the affairs of", "As Squire of Newton, he was doing quite the proper thing in marrying\nthe daughter of a baronet out of the next county. With a light heart,", "that son himself. Nobody told him that all his bother about the\nestate was of no avail. Nobody dared to tell him so. Parson Gregory,\nin his letters to his brother, could express such an opinion. Sir", "the estate that the Squire had bought out Mr. Ralph, and that this\nother Mr. Ralph was now to be Mr. Ralph the heir. That the old butler", "done;--unless, indeed, Ralph should fortunately kill himself by drink\nor evil living, in which case the property would go to the younger\nGregory, the present parson. Now the present parson of Newton was his", "made Sir Thomas very angry. Sir Thomas, when he gave the letter to\nStemm for posting, said not a word of the contents; but Stemm knew\nsomething of old Mr. Gregory Newton and the Newton Priory estate.", "namesake should have the estate. I can see into these matters quite\nwell enough to know that were it to be mine there would occur exactly\nthat which my father wishes to avoid. I should be the owner of Newton", "of the estate. \"I don't think it can be right,\" said Mrs. Brownlow;\n\"and I must say that it seems to me that old Mr. Newton ought to be", "to inherit all those dearly-valued acres. A few lines will tell all\nthat need be told of the Squire's early life,--and indeed of his life", "occupation, altogether without friends. Friends, indeed, he\nhad,--dear, intimate, loving friends. Gregory Newton and George\nMorris were his friends. Every tenant on the Newton property was his", "was dead. In the hope that the old man might yield in all things,\nthe infant had been christened Ralph; for the old Squire's name was\nRalph, and there had been a Ralph among the Newtons since Newton", "It was quite at the end of July, in the very hottest days of a very\nhot summer, that Squire Newton left Newton Priory for London, intent" ], [ "mode of extrication by marrying the breeches-maker's daughter,--that\nto Sir Thomas was infinitely the worst evil of the two. Let Ralph\naccept his uncle's offer and he would still be an English gentleman,", "escape, and Ralph found himself alone with his \"dear, darling little\nClary.\" In spite of his graceful ease, the task before him was not\nwithout difficulty. Clarissa, of course, knew that he had proposed to", "it;--and in this case she would like it. But when Ralph looked at\nher, and asked her whether he might not do better than marry her West", "of all this was that Ralph was authorised to please himself. If he\nreally felt that he liked Miss Bonner well enough, he might ask her\nto be his wife to-morrow.", "see that nothing improper is proposed for you to do. Goodbye, Ralph.\nAnything will be better than marrying that what-d'ye-callem's\ndaughter.\"", "it all in his mind;--how Ralph, his Ralph, must marry, and have a\nseparate income. There would be no doubt about his Ralph's marriage", "Ralph had engaged himself to marry Polly Neefit.", "next Ralph did consider the state of his affairs very closely, and\nthe conclusion he came to was this, that the sooner he could engage\nhimself to marry Mary Bonner the better. If he were once engaged, the", "marriage with his niece on account of Ralph's misconduct, when he\nwould have sanctioned a marriage with his own daughter in spite of\nthat misconduct. The conversation was ended by Sir Thomas leaving", "we might get to know each other. Just now, marrying you would be\nlike taking a husband out of a lottery.\" Ralph stood looking at her,\npassing his hand over his head, and not quite knowing how to carry on", "than does hers to whom he has sworn to be true?\" Ralph did not forget\nat this moment to whisper to himself for his own consolation, that", "Ralph's proposition, made in his difficulties, as to marrying a\ntradesman's daughter for money, and at once fell to the conclusion", "towards the desperate remedy of matrimony. Then he begged Ralph to\ncall upon him again on the Wednesday morning. This note Ralph did not", "\"Then you step out to her and pop.\" Hereupon Ralph made a long and\nintricate explanation of his affairs, the object of which was to", "\"Now look here, Captain. I've just one word to say about her.\nStick to her.\" Ralph was well aware that he must explain the exact", "She had always hoped that Clary would marry the real heir, and was\nsounding his praises while Ralph was knocking at her door. \"He is not\nhalf so fine a fellow as his brother,\" said Clarissa.", "which Ralph had thought before,--\"If you were married to some one\nelse he'd give it up,\" Mr. Carey had suggested. That no doubt was\ntrue.", "We will now return to Ralph and his adventures. He had come up to\nLondon with the express object of pressing his suit upon Mary Bonner;", "\"For me, papa?\"\n\n\"Well, for all of us. Somebody is going to be married. Who do you\nthink it is?\"\n\n\"Not Ralph Newton?\" said Clarissa, with a little start.", "and able to do all that was required of her. Ralph certainly was not\ngay. He was seated next to Clarissa, and spoke a few words now and" ], [ "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "She did not know,--at that time her cousins did not know,--how nearly\nsuccessful were the efforts made to dispossess the heir of his\ninheritance in order that this other Newton might possess it. But she", "namesake should have the estate. I can see into these matters quite\nwell enough to know that were it to be mine there would occur exactly\nthat which my father wishes to avoid. I should be the owner of Newton", "of the estate. \"I don't think it can be right,\" said Mrs. Brownlow;\n\"and I must say that it seems to me that old Mr. Newton ought to be", "regarded the Newton estate were better, was not explained; but all\nwho heard him speak imagined that he was alluding to the latter\nsubject.", "maternal triumph, and all the country round was made to know of her\nsuccess. The Newtons had been at Newton for--she did not know how\nmany hundred years. In her zeal she declared that the estate had been", "of the Newton property will belong to my father. It is his\n intention to leave the estate to me, and he permits me to\n tell you that he will consent to any such settlement in", "which would have enabled his late uncle to make a will leaving the\nNewton estate to his son. \"The letters which have been written are\nall waste-paper,\" said the lawyer. \"Even if they were to be taken", "the Squire's son his cousin,--would make Newton his home for the\nnext twelvemonth. It was found that the Squire had left behind him\nsomething like forty thousand pounds, so that the son was by no means", "that did matter was this,--that the estate should not be allowed to\ndepart out of the true line of the Newton family. He sat thinking of\nit half the night, and before he left the club he wrote the following", "the season, and the Squire had not been out before. It was now known\nto almost every man there that the owner of Newton Priory had at\nlast succeeded in obtaining the reversion of the estate for his own", "\"Ralph Newton has made money difficulties,\" said Sir Thomas. \"If\nhe had been careful with his own fortune there would have been no\nquestion as to the property between him and your father.\"", "\"That is out of the question,\" said the heir. \"Quite out of the\nquestion,\" said the attorney. \"No doubt Mr. Newton left a will,\nand under it his son will take whatever property the father had to\nleave.\"", "Newton, the heir, had anything to sell and was pleased to sell it,\nit was as open to him to buy it as to any other. If the reversion of", "what might be done in regard to the property, nothing could make him,\nwho was illegitimate, capable of holding the position in the country\nwhich of right belonged to Newton of Newton. But the presence of this", "There was just a word spoken between Sir Thomas and Newton about the\nproperty. \"I intend to see Ralph Newton, if I can find him,\" said\nRalph who was not the heir.", "entails in the Newton family; or, at least, he was pleased to\nthink that there had been none such. And when he himself inherited\nthe property early in life,--before he had reached his thirtieth", "money on his interest in the Newton estate. Hitherto he\n has not done so; and I am most anxious to save him from a", "Newton of Newton, and parson of the parish which bore the same name\nas themselves, was sufficient for his ambition. But things would be\nterribly astray now that the right heir was extruded. Ralph, this", "because he had so spoken. He sat for hours thinking of it all. Ralph\nNewton was the undoubted heir to a very large property. He was now" ], [ "Newton Priory was at this time inhabited by two gentlemen,--old\nGregory Newton, who for miles round was known as the Squire; and his", "the Squire's son his cousin,--would make Newton his home for the\nnext twelvemonth. It was found that the Squire had left behind him\nsomething like forty thousand pounds, so that the son was by no means", "remain at Newton. The young Squire asked him to make the house his\nhome, at any rate for the hunting season. The parson offered half the", "Newton, with all my heart,\" said Mr. Walker, who was the richest and\nthe most intelligent among them. \"The Squire has worked for you like\na man, and I hope it will come to good.\"", "the season, and the Squire had not been out before. It was now known\nto almost every man there that the owner of Newton Priory had at\nlast succeeded in obtaining the reversion of the estate for his own", "parish of Peele Newton,--as was now Ralph's younger brother, Gregory.\nThe present squire of Newton had been never married, and the\nproperty, as has before been said, had been settled on Ralph, as the", "money on his interest in the Newton estate. Hitherto he\n has not done so; and I am most anxious to save him from a", "In the last half of this month of October the Squire at Newton was\nvery pressing on his lawyers up in London to settle the affairs of", "that, let what might be sold, he would still be Newton of Newton. The\ncountry people might know it, and the farmers might whisper it one\nto another. But nobody said a word of this to the Squire. His own", "Squire to marry the daughter of the man who had been with him; but if\nRalph Newton had really engaged himself to this girl, and had done\nso with the purport of borrowing money from the father, that might", "As Squire of Newton, he was doing quite the proper thing in marrying\nthe daughter of a baronet out of the next county. With a light heart,", "\"We could get Gregory to join us,\" said the energetic Squire. \"He,\nalso, could sell his right.\"", "eyes very wide when he was told that the Squire would take it as a\npersonal offence if the coverts were ever drawn blank. It was to be\nunderstood through the county that at Newton Priory everything now", "provided for him so noble a place in the world. She quite understood\nwhat it was to be the wife of such a one as the Squire of Newton.", "the Squire of Newton ask him for his girl's hand with that girl's\nconsent, he thought that he could hardly refuse it. How could he ask\nClarissa to abandon so much seeming happiness because the man had", "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "The Squire paused a moment, and then asked a question. \"What should\nyou say if I proposed to sell Brownriggs?\" Now there were two or", "of established ownership. His nephew Gregory, after that last dinner\nof which mention was made, hardly came near him during the next\nfortnight. Once or twice the Squire went up to the church during", "\"They were so much to each other,\" pleaded Gregory in return. The\nSquire accepted the excuse, and offered his namesake a horse for the", "occupation, altogether without friends. Friends, indeed, he\nhad,--dear, intimate, loving friends. Gregory Newton and George\nMorris were his friends. Every tenant on the Newton property was his" ], [ "strike his late rider with his feet; but it was too evident to Cox\nthat the beast in his attempt to rise had given a terrible squeeze to\nthe prostrate Squire with his saddle.", "had there been any memory of the Squire's terrible death. And yet, as\nhe woke and woke and woke again, it can hardly be said that the truth", "The Squire himself was a very handsome man, tall, broad-shouldered,\nsquare-faced, with hair and whiskers almost snow-white already, but", "Squire's accident. It was terribly sudden, and we all felt\n it very much; as in the way of our business we very often\n have to.", "the loss. He will tell you everything, no doubt. No man could have\nbehaved better.\" As it happened, there was still some little space\nof time before the Squire joined them,--a period perhaps of five", "hand because his father is dead,\" the Squire said to his brother.", "ground, and jumping short, came down into the ditch. The Squire fell\nheavily head-long on to the field, and the horse, with no further", "him.\" This was still a little loud; but the Squire at this moment had\nthe sense of double triumph within, and was to be forgiven. It was", "In this there was something that almost amounted to an accusation\nagainst the Squire. At least so the Squire felt it; and the feeling", "There did come some prick of conscience, some qualm, of an injury\ndone, upon the young Squire as he made his answer. \"No; not", "he was that the young squire was to be the Squire some day. \"So am I,\nCox; so am I,\" said the Squire. \"And I hope he'll be a friend to you", "and yet the three men who saw it knew at once that the Squire had\nhad a bad fall. Ralph was first through the gap, and was off his own", "father to come to them, he showed no sign of joy. At last the Squire\ncame. There certainly was triumph in his eye, but he did not speak\ntriumphantly. It was impossible that some word should not be spoken", "There could hardly be a more unhappy man than was the Squire on his\njourney home. He had buoyed himself up with hope till he had felt", "And so the Squire's son had done the Squire's errand. When he\nreported his success to Mr. Carey, that gentleman asked him whether", "The Squire's son felt that it was so, and rushed at the subject all\nin a hurry. \"I told you what I have come up to town about.\"\n\n\"Oh, yes; I understand.\"", "And then there came another blow. The young Squire had resolved that\nhe would not hunt before Christmas in the Newton country. It was felt", "before half-a-dozen men had seen what had happened. Our Squire had\nbeen riding with Cox, the huntsman, who had ventured to say how happy", "on him while he was still doubled up on the ground, that it was\nimpossible that he should ever speak again. So the surgeon said, and\nSquire Newton never did speak again.", "value than to any other. He had said little about it even to his\nson;--but he had hoped; and now had come this letter from Sir Thomas.\nThe reader knows the letter and the Squire's answer." ], [ "In this there was something that almost amounted to an accusation\nagainst the Squire. At least so the Squire felt it; and the feeling", "The Squire himself was a very handsome man, tall, broad-shouldered,\nsquare-faced, with hair and whiskers almost snow-white already, but", "The Squire's son felt that it was so, and rushed at the subject all\nin a hurry. \"I told you what I have come up to town about.\"\n\n\"Oh, yes; I understand.\"", "And then there came another blow. The young Squire had resolved that\nhe would not hunt before Christmas in the Newton country. It was felt", "Sir Thomas, had he been able to consult his own inclinations, would\nhave had no more to do with him. And yet the young Squire had not\ndone anything which, as Sir Thomas thought, would justify him in", "he was that the young squire was to be the Squire some day. \"So am I,\nCox; so am I,\" said the Squire. \"And I hope he'll be a friend to you", "the Squire, \"but I give you my word if this goes on much longer, I\nshall get to dislike even the sight of him.\" On that very day the", "him.\" This was still a little loud; but the Squire at this moment had\nthe sense of double triumph within, and was to be forgiven. It was", "to be driven. Then again the Squire would be a miserable man up\nin London, whereas at the Priory he might be so happy among the\nnew works which he had already inaugurated. The son's arguments", "father to come to them, he showed no sign of joy. At last the Squire\ncame. There certainly was triumph in his eye, but he did not speak\ntriumphantly. It was impossible that some word should not be spoken", "The Squire's joy was too deep and well founded to be in any way\ndamped by poor Gregory's ill-humour, and was too closely present to", "The day after the meeting at the Academy, as Ralph, the young Squire,\nwas sitting alone in his room over a late breakfast, a maid-servant", "\"He wasn't in the right one to-day,\" said the Squire. This was still\na little loud. There was too much of that buoyancy which might have", "Newton Priory was at this time inhabited by two gentlemen,--old\nGregory Newton, who for miles round was known as the Squire; and his", "right to complain because he could not deal with effects which were\nnot his own; but that was the line which his thoughts took. The\nSquire walked about the room, lashing himself in his rage. He could", "The receipt of the telegram at the Moonbeam had affected Ralph, who\nwas now in truth the Squire, with absolute awe. He had returned late", "the season, and the Squire had not been out before. It was now known\nto almost every man there that the owner of Newton Priory had at\nlast succeeded in obtaining the reversion of the estate for his own", "I'm to know,\" he had said to a young gentleman who had inquired,\n\"where they were?\" But still the Squire kept on zealously, and", "This letter duly reached the young Squire, and did not add to his\nhappiness at the Moonbeam. That he should ever renew his offer to", "the better,\" said the Squire. Ralph was with him then, and still\nfelt that his father was too loud. Whether he meant that hunting was\nbetter now than in the old days twenty years ago, or that things as" ], [ "see that nothing improper is proposed for you to do. Goodbye, Ralph.\nAnything will be better than marrying that what-d'ye-callem's\ndaughter.\"", "it;--and in this case she would like it. But when Ralph looked at\nher, and asked her whether he might not do better than marry her West", "escape, and Ralph found himself alone with his \"dear, darling little\nClary.\" In spite of his graceful ease, the task before him was not\nwithout difficulty. Clarissa, of course, knew that he had proposed to", "\"I can't say that she is,\" said Ralph, turning upon his heel near the\nend of the pier.\n\n\"You don't stick to her fast enough, Captain.\"", "know that within the last two months he has twice offered to marry\nanother young woman, and I doubt whether he is not at this moment\nengaged to her?\"", "\"And who is she?\"\n\n\"That would be mere telling;--would it not?\"\n\n\"Clarissa Underwood?\" asked the unsuspecting Ralph.", "some divine Providence, as it now seemed to Ralph,--Polly had twice\nrefused him. It seemed to him, indeed, that divine Providence looked", "\"I like you,\" said Ralph. But he did not propose on that evening.\nLady Eardham thought he ought to have done so, and was angry with", "accepted the gift. It had, therefore, come to pass that the name\nof neither Ralph could be mentioned at the cottage, and that life\namong these maidens was sober, sedate, and melancholy. At last there", "\"My affection for Miss Neefit was not strong,\" said Ralph. \"I did,\nand always shall, regard her as a most excellent young woman.\"\n\n\"She showed her sense in refusing you,\" said Sir Thomas.", "we might get to know each other. Just now, marrying you would be\nlike taking a husband out of a lottery.\" Ralph stood looking at her,\npassing his hand over his head, and not quite knowing how to carry on", "\"Then I know there is.\" Upon this encouragement Ralph told his father\nthat on his two last visits to London he had seen a girl whom he", "\"That is nonsense. She will be nothing to you. You needn't even see\nher unless you please. But, Ralph, do put your jacket on. I'm sure", "that the other Ralph was to marry Mary,--that he would do so in spite\nof that disclaimer which had been made in the first moment of the", "Ralph's proposition, made in his difficulties, as to marrying a\ntradesman's daughter for money, and at once fell to the conclusion", "She had always hoped that Clary would marry the real heir, and was\nsounding his praises while Ralph was knocking at her door. \"He is not\nhalf so fine a fellow as his brother,\" said Clarissa.", "We will now return to Ralph and his adventures. He had come up to\nLondon with the express object of pressing his suit upon Mary Bonner;", "Then Ralph dashed at the suggestion of marriage without further\ndelay. \"You have heard of Mr. Neefit, the breeches-maker!\" It so", "girl's thoughts, and spoken almost at random. Something must be said,\nand therefore these complaints had been made. \"Clary, dear; don't you\nlike Ralph?\" she asked.", "\"Twice I went to her, and twice she refused me. Come, Neefit, be\nreasonable. A man can't be running after a girl all his life, when" ], [ "them till the day of the election was considerable, and Mr. Pile\ntriumphantly whispered into Mr. Trigger's ear his conviction that", "rumours went through the town that night. Some believed that both\nGriffenbottom and Sir Thomas were dead,--and that the mayor had now\nno choice but to declare Moggs and Westmacott elected. Then there", "When the chairmen and presidents waited upon Moggs, telling him of\nthe final result, and informing him that he must come to the hustings", "At last Mr. Griffenbottom, followed by a cloud of supporters, bustled\ninto the room. Trigger at once introduced the two candidates. \"Very", "THE ELECTION.", "And then there came the real day,--the day of the election. It was\na foul, rainy, muddy, sloppy morning, without a glimmer of sun,", "as they now openly acknowledged, waited till about the same hour on\nthe day of election, and then somebody had bought their votes for\nsomebody. On this occasion the purchase had been made by Mr. Glump.", "altogether, and he found himself unable to face the town as a losing\ncandidate. Then for two hours there was a terrible struggle between\nWestmacott and Underwood, during which things were done in the", "At last there came the show of hands. It was declared to be in\nfavour of Moggs and Westmacott. That it was very much in favour of", "We are to be nominated on Monday, and the election will\n take place on Tuesday. I shall be nominated and seconded\n by two electors who are working men. I would sooner", "\"Any ways, after election,\" said a conservative grocer. Both these\ngentlemen belonged to the Established Church and delighted in", "actual work of his canvass. The canvass was to occupy a fortnight,\nand on Monday the sixteenth the candidates were to be nominated.\nTuesday the seventeenth was the day of the election. The whole", "noon on the election day he received ten shillings, with instructions\nto vote for Griffenbottom and Underwood. And they did vote for\nGriffenbottom and Underwood. At all elections in Percycross they had,", "\"We mean to be pure at this election, Mr. Pile,\" said Sir Thomas. Mr.\nPile looked him hard in the face. \"At least I do, Mr. Pile. I can", "But he left the town the accepted candidate of his special friends,\nand was assured, with many parting grasps of the hand on the\nplatform, that he would certainly be brought in at the top of the", "said the father. This was felt by the son to be unfair, cruel, and\neven corrupt. While the election was going on, as long as there was", "by the other, and as they passed through, Glump gave to each man\nhalf a sovereign with instructions, entering their names in a small\nbook;--and then they went in a body and voted for Griffenbottom and", "election, and was well aware that the account was not closed. And\nhe was a man who could not bear to speak about money, or to make\nany complaint as to money. Even though he was being so abominably", "\"Oh, papa!\" exclaimed Patience.\n\n\"At any rate you are elected,\" said Clary.\n\n\"And threatened folk live long, uncle,\" said Mary Bonner.", "In one respect he certainly gained much by this persecution. The\nrecord of his election doings would have been confined to the columns" ], [ "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "As we have said, Mr. Neefit had his troubles, and one of his great\ntroubles was our young friend, Ralph Newton. Ralph Newton was a", "hardly knew her cousins, and was quite sure that she was not known by\nthem. She heard that Ralph Newton was a man of fashion, and the heir", "\"And I think that Mr. Ralph Newton,--this Mr. Ralph Newton, is very\ngood for you. Nothing could be so good. In the first place would it", "Nevertheless, Sir Thomas did speak to Ralph Newton before\ndinner,--stuttering and muttering, and only half finishing his\nsentence. \"We had a correspondence once, Mr. Newton. I dare say you\nremember.\"", "RALPH NEWTON.\n\n Richard Carey, Esq.", "Ralph the heir had been brought up a boy at the parsonage of Newton\nPeele, but the other Ralph had never been taken to Newton till after\nhis grandfather's death. The late parson had died within twelve", "about Gregory Newton, Ralph's brother.\" Then she did tell the story\nof the clergyman's love and the clergyman's discomfiture; but she", "Fooks; but no one knew better than did Ralph Newton himself that they\nwere not such friends as he had promised himself when he was younger.", "Neefit was not at that time personally known to Ralph Newton; but\nthe name, as mentioned by his servant, was painfully familiar to him.", "Newton,--not the Ralph with whom you have found us to be so intimate,\nbut from the other who will some day be Mr. Newton of Newton Priory.\"", "CHAPTER VIII.\n\nRALPH NEWTON'S TROUBLES.", "was dead. In the hope that the old man might yield in all things,\nthe infant had been christened Ralph; for the old Squire's name was\nRalph, and there had been a Ralph among the Newtons since Newton", "Mr. Neefit found it to be incumbent on him to make special inquiry\nabout those prospects. Things had gone very far indeed,--for Ralph\nNewton appeared one summer evening at the villa at Hendon, and", "\"Ralph Newton has made money difficulties,\" said Sir Thomas. \"If\nhe had been careful with his own fortune there would have been no\nquestion as to the property between him and your father.\"", "parish of Peele Newton,--as was now Ralph's younger brother, Gregory.\nThe present squire of Newton had been never married, and the\nproperty, as has before been said, had been settled on Ralph, as the", "because he had so spoken. He sat for hours thinking of it all. Ralph\nNewton was the undoubted heir to a very large property. He was now", "I have received your letter respecting Mr. Ralph Newton's\n affairs, in regard to which, as far as they concern\n himself, I am free to say that I do not feel much", "Three days afterwards Mr. Ralph Newton;--it is hoped that the reader\nmay understand the attempts which are made to designate the two young", "\"Why should I think anything particular of Ralph Newton?\"\n\n\"You'll have to think something particular about him as he is a sort\nof child of the house. Papa was his guardian, and he comes here just\nwhen he pleases.\"" ], [ "of the man in him;--whereas, in manhood, Ralph the heir had certainly\nbeen deficient. \"Ralph must lie on the bed that he has made,\" said", "\"Of course it's a great thing to be heir to Newton. It's a nice\nproperty, and all that. Only my father thought--\"\n\n\"He thought that I wanted money,\" said Ralph the heir.", "Then Ralph the heir, interrupting him, rose from his chair and spoke\nout. \"My uncle has never understood me, and never will. He thinks", "\"He is such a pleasant fellow,\" said Ralph, who was now the heir.", "introduction to Ralph the heir,--Ralph who had for so many years been\nthe intimate friend of the Underwood family,--she perceived something\nin the manner of that very attractive young man which conveyed", "the estate that the Squire had bought out Mr. Ralph, and that this\nother Mr. Ralph was now to be Mr. Ralph the heir. That the old butler", "Ralph, who was not the heir, was of his nature so just, that he could\nnot hear an accusation which he did not believe to be true, without", "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "On the following day Ralph arrived. We must no longer call him Ralph\nwho was not the heir. He would be heir to everything from the day", "And so Ralph the heir found himself to be the owner of it all just\nat the moment in which he thought that he had lost all chance of the", "that he was successful; but, in truth, he did make poor Ralph very\nunhappy. The heir felt himself to be wounded, and could not eat and", "because he had so spoken. He sat for hours thinking of it all. Ralph\nNewton was the undoubted heir to a very large property. He was now", "of the absolute sum named, but explaining that it was his purpose to\nbecome acquainted with the heir, and if possible to learn his views.\n\"You'll find Ralph a very different fellow from what my uncle thinks", "Ralph the heir had been brought up a boy at the parsonage of Newton\nPeele, but the other Ralph had never been taken to Newton till after\nhis grandfather's death. The late parson had died within twelve", "home with Ralph the heir,--as the reader may perhaps remember.", "has old-fashioned ideas. But of course it will be for the best. His\nbrother would have squandered every acre of it.\" To this Ralph made", "and Ralph, had quarrelled about matters of property, and had not\nspoken for years before the death of the younger. Ralph at this time\nhad been just old enough to be brought into the quarrel. There had", "She had always hoped that Clary would marry the real heir, and was\nsounding his praises while Ralph was knocking at her door. \"He is not\nhalf so fine a fellow as his brother,\" said Clarissa.", "property. Ralph,--the illegitimate Ralph,--knew well enough and had\nalways known, that the estate was not to be his. He had known this", "towards the young man's suit. He had not been committed to Sir\nThomas's charge, as had Ralph, having been brought up under the care\nof the uncle whose heir Ralph was through the obligation of legal" ], [ "mode of extrication by marrying the breeches-maker's daughter,--that\nto Sir Thomas was infinitely the worst evil of the two. Let Ralph\naccept his uncle's offer and he would still be an English gentleman,", "She had always hoped that Clary would marry the real heir, and was\nsounding his praises while Ralph was knocking at her door. \"He is not\nhalf so fine a fellow as his brother,\" said Clarissa.", "Ralph the heir had, after all, gone to Margate. Mr. Neefit had got\nsuch a hold upon him that he had no help for it. He found himself", "and Clarissa were attached to each other, and he had very strongly\ndeclared that he would not admit an engagement between them. At that\ntime Ralph was supposed to have sold his inheritance, and did not", "escape, and Ralph found himself alone with his \"dear, darling little\nClary.\" In spite of his graceful ease, the task before him was not\nwithout difficulty. Clarissa, of course, knew that he had proposed to", "see that nothing improper is proposed for you to do. Goodbye, Ralph.\nAnything will be better than marrying that what-d'ye-callem's\ndaughter.\"", "marriage with his niece on account of Ralph's misconduct, when he\nwould have sanctioned a marriage with his own daughter in spite of\nthat misconduct. The conversation was ended by Sir Thomas leaving", "it all in his mind;--how Ralph, his Ralph, must marry, and have a\nseparate income. There would be no doubt about his Ralph's marriage", "Ralph the heir as the nature of their acquaintance would allow. She\nhad seen Clarissa without watching, and, without thinking, she had\nresolved. Mr. Newton was handsome, well to do, of good address, and", "it;--and in this case she would like it. But when Ralph looked at\nher, and asked her whether he might not do better than marry her West", "\"Of course it's a great thing to be heir to Newton. It's a nice\nproperty, and all that. Only my father thought--\"\n\n\"He thought that I wanted money,\" said Ralph the heir.", "And then, Patience thought, Sir Thomas would never consent to this\nmarriage. Ralph was in debt, and a scapegrace, and quite unfit to", "he says, it is worth nothing. When he has once written his name, he\ncannot go back from it, and there will be comfort in that.\" Ralph\nsaid nothing more. His father had talked himself into a passion, and", "\"But, my dear,\" began Mrs. Brownlow,--Mrs. Brownlow had always\nthought that Ralph the heir would ultimately marry Clarissa", "Then Ralph the heir, interrupting him, rose from his chair and spoke\nout. \"My uncle has never understood me, and never will. He thinks", "that he was successful; but, in truth, he did make poor Ralph very\nunhappy. The heir felt himself to be wounded, and could not eat and", "the estate that the Squire had bought out Mr. Ralph, and that this\nother Mr. Ralph was now to be Mr. Ralph the heir. That the old butler", "His son was just two years older than our Ralph up in London, and\nhis father was desirous that he should marry. \"Your wife would be", "Ralph the heir had given his answer, and the thing was settled. He\nhad abandoned his property for ever, and was to be put into immediate", "of all this was that Ralph was authorised to please himself. If he\nreally felt that he liked Miss Bonner well enough, he might ask her\nto be his wife to-morrow." ], [ "some divine Providence, as it now seemed to Ralph,--Polly had twice\nrefused him. It seemed to him, indeed, that divine Providence looked", "proposed to Polly, and had Polly accepted his offer on either of\nthese occasions, there would,--he now acknowledged to himself,--have\nbeen very great difficulty in escaping from the difficulty. Polly", "This was not promising, but on the following morning Ralph received a\nletter which put him into better heart. The letter was from Polly\nherself, and was written as follows:--", "intolerable to him. As for Polly, she had refused him twice. Polly\nwas a very sweet girl, but he could not make it matter of regret to", "Ralph had engaged himself to marry Polly Neefit.", "\"I don't know,\" said Polly.\n\n\"Will you try?\" demanded Ralph.\n\n\"And I don't know that you can love me.\"", "After that there was a pretty little correspondence between Polly and\nRalph, with which the story of Polly's maiden life may be presumed to", "was implied in the saying. \"We'll bring you and Polly together, and I\ntell you she'll come round.\" Ralph shook his head. \"Anyways you shall", "the hands of Polly's father. Now he had made his offer; it had not\nbeen accepted, and he was still free. He could see his way out of", "Polly, the father had no just ground of complaint, for Ralph had done\nhis best. Indeed, Ralph was fond enough of Polly. And it was hard", "had been whispered to Polly that that handsome and very agreeable\nyoung gentleman, Mr. Ralph Newton, might become a suitor for her\nhand, she had chucked up her head and declared to her mother that she", "He had heard that Polly had raised some difficulty,--had, indeed,\nrejected her aristocratic suitor, and was therefore not without hope;\nbut he had been positively assured by Neefit himself that the match", "On that occasion, Ralph abstained from all direct love-making,\nand Polly, when she found that it was to be so, made herself very\npleasant. \"The idea of your being at Margate, Mr. Newton,\" said\nPolly.", "Then in those short five minutes Sir Thomas had absolutely told\nher the whole story about Polly Neefit, and she had come to the\nconclusion that because in his trouble he had offered to marry a", "ventured to oppose it. Would it not be as well for him to consider\nthat he had absolutely made up his mind to marry Polly?", "\"And you dislike it?\" asked Ralph.\n\n\"Indeed I don't then,\" said Polly.", "\"I like you,\" said Ralph. But he did not propose on that evening.\nLady Eardham thought he ought to have done so, and was angry with", "had twice offered to marry Polly. For the present we will leave him,\nalthough he is our hero, and will return to the girls at Popham\nVilla.", "\"I'm not so sure of that,\" said Ralph. \"Nothing on earth can make her\nmother a lady; but of Polly I should have hopes. You, however, are\nagainst it?\"\n\n\"Certainly.\"", "Almost at the first moment in which he had ventured to hope for her\npresence, Polly turned into the lane. It was six months after this\noccurrence that she confessed to him that she had thought it just" ], [ "strike his late rider with his feet; but it was too evident to Cox\nthat the beast in his attempt to rise had given a terrible squeeze to\nthe prostrate Squire with his saddle.", "ground, and jumping short, came down into the ditch. The Squire fell\nheavily head-long on to the field, and the horse, with no further", "Squire's accident. It was terribly sudden, and we all felt\n it very much; as in the way of our business we very often\n have to.", "had there been any memory of the Squire's terrible death. And yet, as\nhe woke and woke and woke again, it can hardly be said that the truth", "The Squire himself was a very handsome man, tall, broad-shouldered,\nsquare-faced, with hair and whiskers almost snow-white already, but", "the loss. He will tell you everything, no doubt. No man could have\nbehaved better.\" As it happened, there was still some little space\nof time before the Squire joined them,--a period perhaps of five", "and yet the three men who saw it knew at once that the Squire had\nhad a bad fall. Ralph was first through the gap, and was off his own", "But the Squire never rode a run better in his life. He gave a lead to\nthe field, and he kept it. \"I wouldn't 'a spoilt him by putting my", "he was that the young squire was to be the Squire some day. \"So am I,\nCox; so am I,\" said the Squire. \"And I hope he'll be a friend to you", "father to come to them, he showed no sign of joy. At last the Squire\ncame. There certainly was triumph in his eye, but he did not speak\ntriumphantly. It was impossible that some word should not be spoken", "hand because his father is dead,\" the Squire said to his brother.", "him.\" This was still a little loud; but the Squire at this moment had\nthe sense of double triumph within, and was to be forgiven. It was", "There did come some prick of conscience, some qualm, of an injury\ndone, upon the young Squire as he made his answer. \"No; not", "\"And where were you, Master Ralph?\" said the Squire to his son.\n\n\"I fancy I just began to know they were running by the time you were\nkilling your fox,\" said Ralph.", "There could hardly be a more unhappy man than was the Squire on his\njourney home. He had buoyed himself up with hope till he had felt", "merely shook his head, as he gently attempted to raise the Squire's\nshoulder against his own. Ralph, as pale as death, held his father's", "And then there came another blow. The young Squire had resolved that\nhe would not hunt before Christmas in the Newton country. It was felt", "on him while he was still doubled up on the ground, that it was\nimpossible that he should ever speak again. So the surgeon said, and\nSquire Newton never did speak again.", "before half-a-dozen men had seen what had happened. Our Squire had\nbeen riding with Cox, the huntsman, who had ventured to say how happy", "In this there was something that almost amounted to an accusation\nagainst the Squire. At least so the Squire felt it; and the feeling" ], [ "\"Father,\" said Polly, as soon as they were alone, \"you've behaved\nvery bad to that young man.\"\n\n\"You be blowed,\" said Mr. Neefit.", "such things that the young Squire should certainly not have a good\ntime of it. He said not a word to Polly of the letter that night, but", "the hands of Polly's father. Now he had made his offer; it had not\nbeen accepted, and he was still free. He could see his way out of", "he did speak of the young Squire. \"When that young man comes again,\nMiss Polly,\" he said, \"I shall expect you to take him.\"", "\"I don't know anything about that, father,\" said Polly. \"He's had his\nanswer, and I'm thinking he won't ask for another.\" Upon this the\nbreeches-maker looked at his daughter, but made no other reply.", "Thomas, and he laid upon Sir Thomas's back the weight of his full\ndispleasure in reference to the proposed marriage with Polly Neefit.", "his suit. \"I'll tell father what you was saying to me and what I said\nto you,\" continued Polly, who seemed quite to understand that Ralph\nhad done his duty by his creditor in making the offer, and that", "\"I doubt very much whether you love father,\" said Polly. She spoke\nthis so sharp and quickly that he had no reply ready. \"If you and", "of Polly's charms as connected with the young Squire, had already\nreached the Moonbeam by the tongue of Rumour; and now Mr. Neefit had", "had been whispered to Polly that that handsome and very agreeable\nyoung gentleman, Mr. Ralph Newton, might become a suitor for her\nhand, she had chucked up her head and declared to her mother that she", "perhaps to Ware. Polly, however, would not accede to her mother's\nviews. The evil must, she thought, be cured at once. \"If father goes", "existed. Nothing will stop him but Polly's marriage, or mine.\"", "of that last interview at Ramsgate, and Polly had told her story as\ntruly as she knew how to tell it. But the father had never for a\nmoment allowed himself to conceive that therefore the thing was at", "not the slightest trust in that threat about the smock in which she\nstood upright. Polly would certainly get the better of her father as\nOntario always got the better of him. Ontario made no immediate reply", "demanded an interview with Polly. \"I should like to hear what she's\ngot to say to me,\" said he, looking boldly, almost savagely, into", "\"Your father told him to take you out a-walking before my very eyes!\nWas I to bear that? Think of it, Polly. You mayn't care for me, and", "Polly loved him. Girls had no right to cling to their fathers after\nmarriage. There was Scripture warranty against it. And yet the manner\nin which she had spoken of her father had greatly added to his", "be ended, and which shall be given to the reader, although by doing\nso the facts of our tale will be somewhat anticipated. Polly, with\nher father's permission, communicated the fact of her engagement to", "belong to him rather than to her father. And so he resolved to waylay\nPolly.", "father to come to them, he showed no sign of joy. At last the Squire\ncame. There certainly was triumph in his eye, but he did not speak\ntriumphantly. It was impossible that some word should not be spoken" ], [ "Nevertheless old Moggs persevered; and Ontario, alive to the fact\nthat it was his duty to be a bootmaker, was now attempting to carry\non his business in the manner laid down for him by his father.", "\"Yes, father; Ontario Moggs,--my husband, as will be; the man I\nhonour and love; the man that will honour and love you; as true a", "Ontario Moggs, who was a clever man and had a great deal to say about\nmany things. She believed that Ontario Moggs was dying for her love,", "he thought, there was that mad son of his old friend Moggs, the\nbootmaker, Ontario Moggs as he had been christened by a Canadian\ngodfather, with whom Polly had condescended already to hold something", "\"Perhaps papa and Ontario Moggs may be the two members,\" said Clary,\nlaughing. \"If so, you must bring him down here, papa. Only he's a\nshoemaker.\"", "Yes;--Ontario Moggs was appalled, delighted, exalted, and nearly\nfrightened out of his wits by an invitation, conveyed to him by", "Booby and Moggs; and it was known that Ontario was the only child\nand heir, and as it were sole owner of the shoulders on which must", "but Ontario Moggs. It was clear enough that each of the party was ill\nat ease. Neefit welcomed him with almost boisterous hospitality. Mrs.", "Ontario Moggs, could she ever bring herself to accept Ontario, would\nnot be less devoted to her because of her father's ill-arranged", "\"I'm not talking of poets. Ontario Moggs is a poet. But I know what\nyou mean. There's something better even than to be a gentleman.\"", "anxious to tell him what to say on that occasion. \"I am accustomed to\naddressing people,\" said Ontario Moggs, with a considerable accession\nof dignity.", "\"Ontario Moggs in my parlour!\" said Neefit, jumping up in bed.", "\"And why not?\" said Ontario, turning sharp upon his companion.\n\n\"The old gen'leman hates the very name of a strike. He's a'most as\nbad as your own father, Mr. Moggs.\"", "\"Ontario Moggs!\" said Clary. \"Do you think it possible, Mr. Newton,\nthat Percycross,--the town where one of the Percys set up a cross in", "\"What have you been saying to him? I won't have you walk with Ontario\nMoggs. I and your mother 'll have to fall out if this kind of thing\ngoes on.\"\n\n\"Don't be silly, father.\"", "who for the half-hour believed that Ontario Moggs had been born to\nsettle all the difficulties between labourers and their employers,\nand that he would do so in such a way that the labourers, at least,", "well, and in truth loved him dearly. There was, too, a Miss Moggs\nat home, who would give her father no peace if Ontario were turned", "certainly. As to that she had no doubt. But then Ontario Moggs was\nsuch a long-legged, awkward, ugly, shambling fellow, and Moggs as", "by making her Mrs. Moggs,\" said Ontario. Now Mr. Moggs senior knew\nto a penny what money old Neefit could give his daughter, and placed", "affairs was maddening to him. With all his scorn for gentry, Ontario\nMoggs in his heart feared a gentleman. He thought that he could make" ], [ "Ralph the heir did indeed think that he would be accepted, and he\nwent on to discuss the circumstances of their future home, almost\nas though Mary Bonner were already employed in getting together her", "that of Mary Bonner. He had taught himself to look upon that little\nepisode with Mary as though it had really meant nothing. She had just", "Clarissa; but Clarissa was as active in avoiding such an arrangement,\nand Ralph soon found himself placed between Mary Bonner and a very", "next Ralph did consider the state of his affairs very closely, and\nthe conclusion he came to was this, that the sooner he could engage\nhimself to marry Mary Bonner the better. If he were once engaged, the", "the story; and so, he thought, did Mary Bonner. Mary Bonner, in\ntruth, did not know it; but she had thrown in Ralph's teeth, as an", "seen Mary Bonner,--and had actually, after a fashion, made a choice\nfor himself. His choice had brought upon him nothing but disgrace\nand trouble. Now he had succumbed at the bidding of heaven and Lady", "himself at Mary Bonner's feet. There were two reasons for not doing\nthis quite immediately. He had been told by his lawyer that he ought\nto wait for some form of assent or agreement from the Squire before", "Bonner. When he first decided on taking it, and even when he decided\non buying it, he assured himself that Mary Bonner's taste might be\nquite indifferent to him. In the first place, he had himself written", "We will now return to Ralph and his adventures. He had come up to\nLondon with the express object of pressing his suit upon Mary Bonner;", "\"I am quite sure. The father came to me to complain of him, and I had\nthe confession from Ralph's own lips, the very day that he came here\nwith his insulting offer to Mary Bonner.\"", "of all this was that Ralph was authorised to please himself. If he\nreally felt that he liked Miss Bonner well enough, he might ask her\nto be his wife to-morrow.", "it. \"Poor Ralph,\" she said to herself; \"he means to do as well as he\ncan, but he is so feeble.\" She certainly would not tell Mary Bonner,", "might follow, was better than formal letters; but all that was Mary's\naffair. This very respectful Ralph was Mary's lover, and if Mary were", "expects to meet them. Such was not the purity of Mary Bonner,--if\npure she was. She did think of some coming lover,--did hope that", "anything wrong.\" To all which Mary Bonner had very little to say. She\ncertainly was not prepared to blame the present Squire for having so\nmanaged his affairs as to be able to leave the estate to his own son.", "of that time, and thither he betook himself. There were about four\nhundred acres, and the place was within his means. He did not think\nit likely that Mary Bonner would choose to come and live upon a", "than by any love, have endeavoured to win Mary Bonner as his own. But\nthat was out of the question. Mary Bonner was as poor as himself;", "there. No! He must break altogether fresh ground, and set up a new\nestablishment. One thing was clear; he could not now do this before\nMary Bonner's arrival, and therefore there was nothing to create any", "The cloud upon the parson's brow was at once lightened. \"No,\" said\nhe. \"I have heard of her, of course.\"\n\n\"You have never seen Mary Bonner?\"", "he thought of his perfect freedom in these respects, he remembered\nhis former resolution as to Mary Bonner. That resolution he would\ncarry out. It would be well for him now to marry a wife, and of" ], [ "The story in regard to the borough of Percycross was as follows.\nThere were going forward in the country at this moment preparations\nfor a general election, which was to take place in October. The", "Parliament, it must be by the free votes and unbiassed political\naspirations of the honest working men of the borough. So remembering\nhe stood aloof, stuck his hand into his breast, and held up his", "members to Parliament. And so the borough grew hot. There was\none very learned pundit in those parts, a pundit very learned in\npolitical matters, who thus prophesied to one of the proposed", "in the borough,\" said Trigger, with the air of a man who had great\ntruths to teach. \"In electioneering, Sir Thomas, it's mostly the same", "weighty, Sir Thomas might be almost anywhere without any fault on his\npart. A gentleman in the throes of an election for Parliament could\nnot be expected to be at home. Even Patience did not feel called upon", "very soul was full of his seat in Parliament! But when Griffenbottom\napproached him on the lists, and then passed him, there came a shadow\nupon his brow. He still felt sure of his election, but he would", "Percycross was not one of those well-arranged boroughs in which the\nexpenses of an election are all defrayed by the public spirit of the\ncitizens. It soon became clear that the deputation had waited upon", "power, and he, having lost his election at the borough which he had\nrepresented, was passed over without a word of sympathy or even of\nassumed regret from the Minister, then he was wounded. It was true,", "in parl'ament no more.\" \"Kennington Oval's about the place,\" said a\nthird. \"Or Primrose 'ill,\" said a fourth. \"Hyde Park!\" screamed the", "As to the treating,--there could be no doubt about that. There had\nbeen treating. The idea of conducting an election at Percycross\nwithout beer seemed to be absurd to every male and female", "actual work of his canvass. The canvass was to occupy a fortnight,\nand on Monday the sixteenth the candidates were to be nominated.\nTuesday the seventeenth was the day of the election. The whole", "Parliament lately dissolved, the very old borough of Percycross,--or\nPercy St. Cross, as the place was properly called,--had displayed no", "Parliament. He rarely spoke, and when he did no one listened to him.\nHe was anxious for no political measures. He was a favourite with no\nsection of a party. He spent all his evenings at the House, but it", "\"Just so;--but the people here ain't what they are at other places,\nSir Thomas Underwood. I've seen many elections here, Sir Thomas.\"\n\n\"No doubt you have, Mr. Pile.\"", "The election took place on a Tuesday,--Tuesday, the 17th of October.\nOn the following day one of the members received a visit in his", "\"We mean to be pure at this election, Mr. Pile,\" said Sir Thomas. Mr.\nPile looked him hard in the face. \"At least I do, Mr. Pile. I can", "determined to send Mr. Moggs to Parliament. Did not Mr. Moggs think\nit best that he should come down at once to the borough and look", "in Parliament. But there should be a bootmaker in Parliament\nsoon;--and thus he plucked up his courage.", "had so spent it that at every election it appeared that he had not\nexpected to spend it till the bills were sent to him. He frankly\nowned that the borough had been ruinous to him; had made a poor man", "had been of Parliament, of power in the county, of pride of place,\nand popularity. He now found that they were to be no more than\ndreams;--but with this additional sorrow, that all around him knew" ], [ "Three days afterwards Mr. Ralph Newton;--it is hoped that the reader\nmay understand the attempts which are made to designate the two young", "As we have said, Mr. Neefit had his troubles, and one of his great\ntroubles was our young friend, Ralph Newton. Ralph Newton was a", "\"And I think that Mr. Ralph Newton,--this Mr. Ralph Newton, is very\ngood for you. Nothing could be so good. In the first place would it", "reasons in accordance with which these might be selected and those\nrejected. \"Have you seen much of Ralph Newton lately?\" asked the\nother Ralph.", "was dead. In the hope that the old man might yield in all things,\nthe infant had been christened Ralph; for the old Squire's name was\nRalph, and there had been a Ralph among the Newtons since Newton", "was Ralph Newton! But for one Harry Esmond, there are fifty Ralph\nNewtons,--five hundred and fifty of them; and the very youth whose", "Newton,--not the Ralph with whom you have found us to be so intimate,\nbut from the other who will some day be Mr. Newton of Newton Priory.\"", "Fooks; but no one knew better than did Ralph Newton himself that they\nwere not such friends as he had promised himself when he was younger.", "He had made inquiry about Ralph Newton, and had found that the young\nman was undoubtedly heir to a handsome estate in Hampshire,--a place", "Ralph the heir had been brought up a boy at the parsonage of Newton\nPeele, but the other Ralph had never been taken to Newton till after\nhis grandfather's death. The late parson had died within twelve", "wonder what you'll think of Ralph Newton?\" she said. Ralph Newton's\nname had been mentioned before in Mary's hearing more than once.", "knows Ralph Newton as yet, and cannot at all realise the difficulty\nwhich poor Mr. Neefit experienced in coming across any gentleman\nin such a fashion as to be able to commence his operations. It is", "about Gregory Newton, Ralph's brother.\" Then she did tell the story\nof the clergyman's love and the clergyman's discomfiture; but she", "hardly knew her cousins, and was quite sure that she was not known by\nthem. She heard that Ralph Newton was a man of fashion, and the heir", "Neefit was not at that time personally known to Ralph Newton; but\nthe name, as mentioned by his servant, was painfully familiar to him.", "RALPH NEWTON.\n\n Richard Carey, Esq.", "\"Mrs. Brownlow would, perhaps, prefer going to bed,\" said Ralph.\nThen every one was gone except the Underwoods and Ralph Newton. The", "The reader may imagine that Ralph Newton was hardly ready with his\nanswer. There are men, no doubt, who in such an emergency would have", "\"Patience tells me that you are still thinking of Ralph Newton.\"\n\n\"Of course I think of him.\"", "Suddenly Ralph Newton was among them. Clarissa had not heard him\nannounced, and to her it seemed as though he had come down from" ], [ "that son himself. Nobody told him that all his bother about the\nestate was of no avail. Nobody dared to tell him so. Parson Gregory,\nin his letters to his brother, could express such an opinion. Sir", "\"Don't say that, sir. But if he were to die, Gregory here, who is as\ngood a fellow as ever lived, would come into his shoes. Ralph could\nsell no more than his own chance.\"", "of established ownership. His nephew Gregory, after that last dinner\nof which mention was made, hardly came near him during the next\nfortnight. Once or twice the Squire went up to the church during", "went to prison,\" he said to himself. Let him starve till he died, and\nthen the property would go to Gregory! What did it matter? The thing", "which had been pronounced against the heir and against the memory\nof the heir's father. Gregory simply filled the place which might\nhave been his had there been no crushing entail, and was, moreover,", "\"He will never succeed,\" said Gregory.\n\n\"Probably not;--though, for that matter, I suppose Ralph will be\ndriven to raise money on his inheritance.\"\n\n\"He will never sell the property.\"", "in which he had passed the night by the side of his dying father's\nbed. On their journey homeward they met Gregory, who had heard of the\naccident, and had at once started to see his uncle.", "of building a house which, at his death, would become the property of\nhis nephew. And, in this way, the estate was being starved. All this\nRalph understood thoroughly; and, understanding it, had frequently", "done;--unless, indeed, Ralph should fortunately kill himself by drink\nor evil living, in which case the property would go to the younger\nGregory, the present parson. Now the present parson of Newton was his", "\"With Gregory's eldest brother.\" The reader will perhaps remember\nthat the Gregory of that day was the parson. \"I believe he is a good\nfellow, and he has done you no harm.\"", "and the heir to the estate. When on his death-bed, the parson had\nasked Mr. Underwood, who had just then entered the House of Commons,", "of it, to his own son. Gregory had always taken his brother's part\nbefore the Squire; and the Squire, much as he liked the parson, was", "settled,\" he said. \"The estate belongs to my cousin Ralph. He should\nbe informed at once,--at once. He should he telegraphed to, to come", "\"He has done me all harm.\"\n\n\"No; father; no. We cannot help ourselves, you know. Were he to die,\nGregory would be in the same position. It would be better that the\nfamily should be kept together.\"", "no answer. It might probably have been as his father said. It was\nperhaps best for all who lived in and by the estate that he should be\nthe heir. And gradually the feeling of exultation in his own position", "upon law business, and filled with ambition to purchase the right\nof leaving his own estate to any heir whom he might himself select.\nHe left his son alone at the Priory; but his son and the parson", "which I did.\" The tone now had become too serious to admit of further\nargument. Ralph, feeling that this was so, pressed his father's hand\nand then left him. \"Gregory is coming across to dinner,\" said the", "\"Yes, I know,--and though I cannot talk to you, I know how good you\nare. I want to see nobody but him. I shall be better alone.\" Then\nGregory had returned to the parsonage.", "in error. While his father had remained alone up in town he had been\nliving with Gregory, and had known what Gregory thought and believed.\nHe had even seen his namesake's letter to Gregory, in which it was", "male heir,--provided, of course, that his uncle left no legitimate\nson of his own. It had come to pass that the two brothers, Gregory" ], [ "Ralph had engaged himself to marry Polly Neefit.", "\"I'm not so sure of that,\" said Ralph. \"Nothing on earth can make her\nmother a lady; but of Polly I should have hopes. You, however, are\nagainst it?\"\n\n\"Certainly.\"", "\"Polly will never be an old maid,\" said Ralph.", "\"And you dislike it?\" asked Ralph.\n\n\"Indeed I don't then,\" said Polly.", "some divine Providence, as it now seemed to Ralph,--Polly had twice\nrefused him. It seemed to him, indeed, that divine Providence looked", "Polly, the father had no just ground of complaint, for Ralph had done\nhis best. Indeed, Ralph was fond enough of Polly. And it was hard", "Ralph, as he walked westwards towards the club, was by no means sure\nthat Sir Thomas had been right in this. By marrying Polly he would,\nafter all, keep the property.", "On that occasion, Ralph abstained from all direct love-making,\nand Polly, when she found that it was to be so, made herself very\npleasant. \"The idea of your being at Margate, Mr. Newton,\" said\nPolly.", "Polly away from me, I don't know as I shall ever be comfortable\nagain.\" But still he did not hesitate or repent. Of course his Polly\nmust have a husband.", "was implied in the saying. \"We'll bring you and Polly together, and I\ntell you she'll come round.\" Ralph shook his head. \"Anyways you shall", "doubts the idea of marrying Polly Neefit became more indistinct, and\nless alluring than ever. By this time he almost hated Mr. Neefit,", "\"I don't know,\" said Polly.\n\n\"Will you try?\" demanded Ralph.\n\n\"And I don't know that you can love me.\"", "This was not promising, but on the following morning Ralph received a\nletter which put him into better heart. The letter was from Polly\nherself, and was written as follows:--", "it;--and in this case she would like it. But when Ralph looked at\nher, and asked her whether he might not do better than marry her West", "\"Besides, I don't want to be a lady,\" said Polly, seeing that she had\nbetter leave that question of marital obedience; \"and I won't be a", "ventured to oppose it. Would it not be as well for him to consider\nthat he had absolutely made up his mind to marry Polly?", "existed. Nothing will stop him but Polly's marriage, or mine.\"", "actually with the Neefits and occupy the same apartments. \"It would\nbe altogether wrong,--for Polly's sake,\" said Ralph, looking very", "time distasteful. He was to have married Polly Neefit for her money,\nand he had been wretched ever since he had entertained the idea. Love", "had been whispered to Polly that that handsome and very agreeable\nyoung gentleman, Mr. Ralph Newton, might become a suitor for her\nhand, she had chucked up her head and declared to her mother that she" ], [ "his uncle had already bequeathed it to his son. But the attorney soon\nput him right. The sale had not been yet made. He, Ralph, had not\nsigned a single legal document to that effect. He had done nothing", "of building a house which, at his death, would become the property of\nhis nephew. And, in this way, the estate was being starved. All this\nRalph understood thoroughly; and, understanding it, had frequently", "\"It don't matter about that, Mr. Walker,\" said Ralph; \"but the estate\nwould go to my father's nephew as his heir.\" The farmer started as", "that he was successful; but, in truth, he did make poor Ralph very\nunhappy. The heir felt himself to be wounded, and could not eat and", "the estate that the Squire had bought out Mr. Ralph, and that this\nother Mr. Ralph was now to be Mr. Ralph the heir. That the old butler", "he says, it is worth nothing. When he has once written his name, he\ncannot go back from it, and there will be comfort in that.\" Ralph\nsaid nothing more. His father had talked himself into a passion, and", "been in earnest, and that his uncle would fail. And then, though\nhe loved the one Ralph nearly as well as he did the other,--though", "one English country gentleman with a large estate for another equally\nblessed. Six months ago, when it was believed that Ralph had sold\nhis inheritance to his uncle, Sir George when he met the young man", "to die without a son before his uncle, then his brother would be the\nheir. The arrangement, however, if practicable, would at once make\nall things comfortable for Ralph, and would give him, probably, a", "settled,\" he said. \"The estate belongs to my cousin Ralph. He should\nbe informed at once,--at once. He should he telegraphed to, to come", "estate. \"Oh, Mr. Ralph,\" he said, \"this has been a dreary thing!\"\nRalph, for the first time since the accident, burst out into a flood", "\"Stemm says that Ralph has sold all the Newton Priory estate to his\nuncle.\"\n\n\"It is the best thing he could do.\"\n\n\"Really, papa?\"", "\"Yes, sir, it's done. At least, I suppose so.\" Ralph, after sending\nhis telegram, had of course written to his father, giving him full\nparticulars of the manner in which the arrangement had been made.", "uncle's friend. Whether that friendship would have been continued had\nRalph died and the young clergyman become the heir, may be matter of\ndoubt.", "had been transferred to the guardianship of Sir Thomas Underwood. It\nwas only during the holidays of that one year that the two Ralphs\nhad been together. The \"Dear Sir\" will probably be understood by the", "thing, what can he do but part with it? Ralph had made his bed, and\nhe must lie upon it. Sir Thomas had done what he could, but it had", "\"Of course it's a great thing to be heir to Newton. It's a nice\nproperty, and all that. Only my father thought--\"\n\n\"He thought that I wanted money,\" said Ralph the heir.", "\"the Captain\" would at once put an end to this transaction between\nhim and his uncle. And yet Ralph didn't feel quite certain. The\nbreeches-maker had been generous,--very generous, and very trusting;", "property.\" Ralph shook his head, but did not speak. \"A bargain is a\nbargain, Mr. Ralph, and I suppose that this bargain was made. The\nlawyers would know that it had been made.\"", "has old-fashioned ideas. But of course it will be for the best. His\nbrother would have squandered every acre of it.\" To this Ralph made" ], [ "As soon as Ralph was alone he crept up to the room in which his\nfather's body was lying, and stood silently by the bedside for above", "one more intensely anxious for his son's welfare;--and Ralph had\nknown this, and loved his father accordingly. Nevertheless, he could\nnot keep himself from remembering that he had now lost more than", "he says, it is worth nothing. When he has once written his name, he\ncannot go back from it, and there will be comfort in that.\" Ralph\nsaid nothing more. His father had talked himself into a passion, and", "purchaser. He could not say all this to his father; but he spoke of\nRalph in such a way as to make his father understand what he thought.", "and Ralph, had quarrelled about matters of property, and had not\nspoken for years before the death of the younger. Ralph at this time\nhad been just old enough to be brought into the quarrel. There had", "Polly, the father had no just ground of complaint, for Ralph had done\nhis best. Indeed, Ralph was fond enough of Polly. And it was hard", "she saw her father and Ralph together, that Ralph had spoken of his\nlove to Sir Thomas, and that Sir Thomas had allowed him to come; but\nshe soon perceived that this was not the case: and so they walked", "her to accuse herself of ingratitude to her father. And so Ralph went\nback to town without again seeing the breeches-maker.", "merely shook his head, as he gently attempted to raise the Squire's\nshoulder against his own. Ralph, as pale as death, held his father's", "of tears. \"No wonder you take on, Mr. Ralph. He was a good father to\nyou, and a fine gentleman, and one we all respected.\" Ralph still", "\"Well;--we shall see. But what is it that Ralph has said? And when\ndid he say it?\" Then the son told the father of the short letter", "parson of his intention of joining his father in London. \"I don't see\nthat I can do any good,\" said Ralph, \"but he wishes it, and of course\nI shall go.\"", "Ralph was left with his lady-love. There never was so good-natured a\nfather! \"You'll bring her home to tea, Captain,\" said the father, as\nhe walked off.", "than Gregory the father and Ralph the son. Of the father we will\nonly further say that he was a generous, passionate, persistent,\nvindictive, and unforgiving man, a bitter enemy and a staunch friend;", "that he was successful; but, in truth, he did make poor Ralph very\nunhappy. The heir felt himself to be wounded, and could not eat and", "which I did.\" The tone now had become too serious to admit of further\nargument. Ralph, feeling that this was so, pressed his father's hand\nand then left him. \"Gregory is coming across to dinner,\" said the", "beaten. And there was the father who had loved him so well lying\ndead!", "of building a house which, at his death, would become the property of\nhis nephew. And, in this way, the estate was being starved. All this\nRalph understood thoroughly; and, understanding it, had frequently", "Ralph the heir had been brought up a boy at the parsonage of Newton\nPeele, but the other Ralph had never been taken to Newton till after\nhis grandfather's death. The late parson had died within twelve", "Very well. I don't suppose it will make much difference to Ralph.\"\n\"None in the least,\" said Patience, severely. \"Nothing of that kind\nwill make any difference to him.\" But at that time Ralph had been" ], [ "make her his wife, but he did.\" At every assertion that he made, the\nbreeches-maker bobbed forward his bullet head, stretched open his", "And then as to the marriage itself,--the proposed marriage with the\nbreeches-maker's daughter,--the more Sir Thomas thought of it the", "believed that Polly's fortune would be more than Mr. Neefit had been\nable to promise, he had determined that nothing should induce him\nto marry the daughter of a breeches-maker; and therefore the answer", "\"Damn your money!\" said the breeches-maker, walking out of the room.\nWhen he got down into the bar he told them all there that young\nNewton was engaged to his daughter, and that, by G----, he should\nmarry her.", "pleasant. But then, to marry the daughter of a breeches-maker!", "\"By selling yourself to the daughter of a man who makes--breeches! I\ncan give you advice on no other point; but I do advise you not to do", "Then Ralph dashed at the suggestion of marriage without further\ndelay. \"You have heard of Mr. Neefit, the breeches-maker!\" It so", "lawyer assured him, all his own. How nearly had he lost it all! How\nnearly had he married the breeches-maker's daughter! How close upon", "thinks I must take his daughter because I owe him two or three\nhundred pounds.\" Such were Ralph Newton's thoughts about the\nbreeches-maker,--which thoughts were very unjust. Neefit was", "too, with means sufficing for a gentleman's wants. But that escape by\nway of the breeches-maker's daughter would, in accordance with Sir\nThomas's view of things, destroy everything.", "the breeches-maker's daughter should be treated by him. And when it\nshould please Providence to decide that the present squire of Newton\nhad reigned long enough over that dominion, he would show the world", "that after to-morrow he would never again be able to call himself\na gentleman. Who would associate with him after he had married\nthe breeches-maker's daughter? He laid in bed late on Sunday, and", "taught how to go a-wooing by his breeches-maker! He did not\naltogether like it, and, as at this moment his mind was rather set", "\"The things he says are monstrous,\" asserted Moggs, thinking of the\nprotestation lately made by the breeches-maker in his own hearing,\nto the effect that Ralph Newton should yet be made to marry his\ndaughter.", "should he marry the daughter of a man who made--breeches, no lady\nwould associate with his wife. Sir Thomas also had seemed to imply\nthat he must sell his property. He would show Sir Thomas that he", "thought it best to come and tell you everything,\" said Ralph. That\nwas all very well, but Sir Thomas would not advise him to marry the\nbreeches-maker's daughter.", "breeches-maker. Polly had shown so much spirit in the interview,\nand had looked so well in showing it, had stood up such a perfect\nspecimen of healthy, comely, honest womanhood, that he thought that", "\"Oh, yes; the breeches-maker.\"\n\n\"I believe he said that such was his trade. He assured me that you\nhad borrowed large sums of money from him.\"", "romance of Polly Neefit. He had actually gone down to Hendon to offer\nhimself as a husband to the breeches-maker's daughter. It is true he", "breeches-maker. But he could not remain in town. Were he to remain in\ntown, Neefit would be upon him; and, in truth, though he was quite" ], [ "Ralph had engaged himself to marry Polly Neefit.", "escape, and Ralph found himself alone with his \"dear, darling little\nClary.\" In spite of his graceful ease, the task before him was not\nwithout difficulty. Clarissa, of course, knew that he had proposed to", "of all this was that Ralph was authorised to please himself. If he\nreally felt that he liked Miss Bonner well enough, he might ask her\nto be his wife to-morrow.", "We will now return to Ralph and his adventures. He had come up to\nLondon with the express object of pressing his suit upon Mary Bonner;", "it;--and in this case she would like it. But when Ralph looked at\nher, and asked her whether he might not do better than marry her West", "Ralph's proposition, made in his difficulties, as to marrying a\ntradesman's daughter for money, and at once fell to the conclusion", "that Ralph ought to be her own after the speaking of such words as he\nhad spoken. There were those troubles about money, but yet she was\nentitled to regard him as her own. Then had come the written offer", "\"I like you,\" said Ralph. But he did not propose on that evening.\nLady Eardham thought he ought to have done so, and was angry with", "\"Now look here, Captain. I've just one word to say about her.\nStick to her.\" Ralph was well aware that he must explain the exact", "But it was known that the banished Ralph had, in the moment of his\nexpected prosperity, declared his purpose of giving all that he had\nto give to this beauty, and it was believed that she would have", "There was an old-fashioned mode of wooing of which she had read and\ndreamed, that implied a homage which she knew that she desired. This\nhomage her Ralph was prepared to pay.", "be allowed to propose to Mary Bonner? At first Ralph had been much\ndismayed at having the Neefit mine sprung on him at such a moment;\nbut he collected himself very quickly, and renewed his demand as", "see that nothing improper is proposed for you to do. Goodbye, Ralph.\nAnything will be better than marrying that what-d'ye-callem's\ndaughter.\"", "In the meantime Ralph was as happy as the day was long, and delighted\nwith his lot in life. For some weeks previous to his offer he had", "next Ralph did consider the state of his affairs very closely, and\nthe conclusion he came to was this, that the sooner he could engage\nhimself to marry Mary Bonner the better. If he were once engaged, the", "than does hers to whom he has sworn to be true?\" Ralph did not forget\nat this moment to whisper to himself for his own consolation, that", "\"If she does not regard it, I will never think of it again,\" said\nRalph. \"My greatest glory in what had been promised me was in\nthinking that it might help to win her.\"", "we might get to know each other. Just now, marrying you would be\nlike taking a husband out of a lottery.\" Ralph stood looking at her,\npassing his hand over his head, and not quite knowing how to carry on", "After that there was a pretty little correspondence between Polly and\nRalph, with which the story of Polly's maiden life may be presumed to", "and able to do all that was required of her. Ralph certainly was not\ngay. He was seated next to Clarissa, and spoke a few words now and" ], [ "as they now openly acknowledged, waited till about the same hour on\nthe day of election, and then somebody had bought their votes for\nsomebody. On this occasion the purchase had been made by Mr. Glump.", "spoken in his own hearing. It was admitted, however, that votes had\nbeen bought. There were a dozen men, perhaps more than a dozen,\nwho would prove that one Glump had paid them ten shillings a piece", "by the other, and as they passed through, Glump gave to each man\nhalf a sovereign with instructions, entering their names in a small\nbook;--and then they went in a body and voted for Griffenbottom and", "householders, there was no knowing how to act. They would take the\nmoney and then vote wrong. They would take the money and then split.\nThe freemen were known. Three hundred and twenty-four would take", "been his intention before an election was commenced that nothing\nillegal should be done. He had no doubt always afterwards paid sums\nof money the use of which he did not quite understand, and as to some", "\"I beg your pardon for one moment, Mr. Griffenbottom,\" said Sir\nThomas. \"Will you tell me, Mr. Trigger, whether votes were bought", "as they thought right; and the men voted,--as they thought right. The\nonly cases of bribery absolutely proved were those manipulated by\nGlump, and nothing had been adduced clearly connecting Glump and", "no opinion till he had heard the evidence. That votes had been bought\nduring the day of the election there was no doubt on earth. On this\nmatter great secrecy prevailed, and Sir Thomas could not get a word", "noon on the election day he received ten shillings, with instructions\nto vote for Griffenbottom and Underwood. And they did vote for\nGriffenbottom and Underwood. At all elections in Percycross they had,", "of them,--promised their votes. Now and again some sturdy fellow,\nseeming to be half ashamed of himself in opposing all those around", "principles,--and then vote for him if they pleased. He would\ncondescend to ask a vote as a favour from no man. It was for them", "between one and two on the day of the election. There was a general\nbelief that perhaps over a hundred had been bought at that rate. But\nTrigger was ready to swear that he did not know whence Glump had got", "That's Sam Spicer.\" Of Mr. Pile, it must be acknowledged that he was\nnot a pure-minded politician. He loved bribery in his very heart.", "grossest kind. Money had been demanded from him since the election,\nas to the actual destination of which he was profoundly ignorant. He\ndid not, however, doubt but that this money had been spent in the", "\"They'll fight for him at the hustings,\" said Mr. Kirkham; \"but\nthey'll take their beer and their money, and they'll vote for us and\nGriffenbottom.\"", "most steadfast purpose to avoid corruption; and had done his best in\nthat direction. But he had failed. There had been corruption, for\nwhich he had himself paid in part. There had been treating of the", "tactics. Votes had been personated. Votes had been bought. Votes\nhad been obtained by undue influence on the part of masters and\nlandlords, and there had been treating of the most pernicious and", "But it is equally true that he did not want to be bribed himself. It\nwas the old-fashioned privilege of a poor man to receive some small", "said the father. This was felt by the son to be unfair, cruel, and\neven corrupt. While the election was going on, as long as there was", "purchase of votes. Sir Thomas was supposed to have betrayed the\nborough in his evidence, and was hooted out of the town. On this\noccasion he only remained there one night, and left Percycross for" ], [ "Then Ralph the heir, interrupting him, rose from his chair and spoke\nout. \"My uncle has never understood me, and never will. He thinks", "one more intensely anxious for his son's welfare;--and Ralph had\nknown this, and loved his father accordingly. Nevertheless, he could\nnot keep himself from remembering that he had now lost more than", "that he was successful; but, in truth, he did make poor Ralph very\nunhappy. The heir felt himself to be wounded, and could not eat and", "\"But Ralph has told him so.\"\n\n\"Ralph will say anything. He doesn't mind what lies he tells.\"\n\n\"I think you are too hard on him,\" said the son.", "been in earnest, and that his uncle would fail. And then, though\nhe loved the one Ralph nearly as well as he did the other,--though", "his uncle had already bequeathed it to his son. But the attorney soon\nput him right. The sale had not been yet made. He, Ralph, had not\nsigned a single legal document to that effect. He had done nothing", "the idea had come upon him that he might buy his nephew out. Ralph,\nhis own Ralph, had told him that the idea was cruel; but he could not", "Ralph said many things in praise of his namesake. He still almost\nregretted what had been done. At any rate he could see the pity", "pang of remorse. You will understand it when you have a son of your\nown. Good-night, my boy.\" Then he hurried off without waiting to hear\na word, if there was any word that Ralph could have spoken.", "and Ralph, had quarrelled about matters of property, and had not\nspoken for years before the death of the younger. Ralph at this time\nhad been just old enough to be brought into the quarrel. There had", "of building a house which, at his death, would become the property of\nhis nephew. And, in this way, the estate was being starved. All this\nRalph understood thoroughly; and, understanding it, had frequently", "the whole affair was pitiful. But he could not scold his son;--at any\nrate not now. \"I feel this, Ralph,\" he said;--\"that from this moment", "he says, it is worth nothing. When he has once written his name, he\ncannot go back from it, and there will be comfort in that.\" Ralph\nsaid nothing more. His father had talked himself into a passion, and", "purchaser. He could not say all this to his father; but he spoke of\nRalph in such a way as to make his father understand what he thought.", "that other Ralph, the one now disinherited and dispossessed, who\nhad so long and so intimately been known to them; and it was almost\nimpossible for Patience not to show the cause of her great grief.", "than Gregory the father and Ralph the son. Of the father we will\nonly further say that he was a generous, passionate, persistent,\nvindictive, and unforgiving man, a bitter enemy and a staunch friend;", "of the absolute sum named, but explaining that it was his purpose to\nbecome acquainted with the heir, and if possible to learn his views.\n\"You'll find Ralph a very different fellow from what my uncle thinks", "had declared his passion to the other Ralph, but his rival had not\nmade the confidence mutual. But hitherto he had said nothing on the\nsubject to his brother. He had put it by, as it were, out of his mind", "would have given me his flesh and blood;--his very life,\" said Ralph\nto the butler. \"I think no father ever so loved a son. And yet, what", "\"Well;--we shall see. But what is it that Ralph has said? And when\ndid he say it?\" Then the son told the father of the short letter" ] ]

[ "Who else is named Ralph Newton?", "Who is Squire Gregory Newton's estate going to when he dies?", "Who can Ralph marry to extricate himself?", "Who could seize the Newton estate?", "What does Squire Gregory Newton offer to buy to help with his estate?", "How was the Squire killed?", "Who harasses the new Squire?", "What is the name of the second woman who rejects Ralph's marriage proposal?", "Which two people win the election?", "Who is Ralph Newton a nephew of?", "What trait is Ralph the heir known to have?", "Who does Ralph the heir have to marry to extricate himself?", "How many times did Polly reject Ralph's proposal?", "How is the squire killed?", "How did Polly's father threaten the new squire?", "Ontario Moggs is the son of what?", "What did Mary Bonner do concerning illegitimate Ralph?", "Where did a Parliamentary election take place?", "How many people named Ralph Newton are there in the story?", "Who gets Gregory's estate after his death?", "Why does Ralph not want to marry Polly?", "What did Ralph's uncle do to help make sure his son would get his estate?", "How did Ralph's father die?", "Who did the breeches-maker want his daughter to marry?", "Which women did Ralph propose to in the story?", "Which candidates offered money in exchange for people's votes?", "How did Ralph's uncle feel about his son?" ]

[ [ "Squire Gregory Newton's son", "his illegitimate son and nephew" ], [ "His nephew", "His nephew Ralph" ], [ "Polly Neefit", "Polly Neefit" ], [ "Creditors", "Ralph the heir's creditors" ], [ "The Heir's reversion", "Ralph's reversion" ], [ "In a hunting accident", "a hunting accident" ], [ "Polly Neefit's father", "Polly Neefit's father" ], [ "Mary Bonner", "Mary Bonner" ], [ "Sir Thomas and his fellow Conservative", "Sir Thomas and the incumbent Conservative " ], [ "Squire Gregory Newton", "Sir Gregory Newton" ], [ "Being a spendthrift.", "He is a spendthrift." ], [ "Polly Neefit", "Polly Neefit" ], [ "Twice.", "Twice" ], [ "In a hunting accident.", "in a hunting accident" ], [ "With legal action and embarrassing publicity", "With legal action." ], [ "A prosperous bootmaker", "A boot maker" ], [ "She accepted his offer of marriage.", "Accept the offer of marriage" ], [ "In the fictional borough of Percycross.", "The Borough of Percycross" ], [ "2", "Two." ], [ "his nephew Ralph", "His nephew Ralph" ], [ "her family is in a lower social class", "She from a much lower social class" ], [ "offered to pay Ralph to give up his claim to the uncle's esate", "he tried to buy out Nephew Ralph's debt" ], [ "in a hunting accident", "A hunting accident." ], [ "the nephew Ralph", "Ralph Newton the nephew of the squire" ], [ "Polly Neefit and Mary Bonner", "Twice to Polly and Once to Mary" ], [ "the Conservative and Liberal incumbents", "The conservative and the liberal." ], [ "he loved him very much", "He loves him dearly" ] ]

[ [ "Beane was taken in the first round of the\n amateur draft back in 1980, separated\n from All-Star outfielder Daryl Strawberry", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "BILLY\n Well, let's go buy Barry Bonds, then.\n This is the team we've got and this is\n the team we'll win with.\n\n 90.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "GRADY\n Alright, guys... we had a great year. We\n won 102 games and we only came a buck\n short in New York. Now the bad news...\n we've got three big holes to fill.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "major league teams to misjudge their\n players and mismanage their teams.\n They're still asking the wrong questions.\n People who run baseball teams still think", "BILLY\n Listen, it's a team of probabilities, and\n we're gonna need 162 games to tell that", "Unlike the A's, this is a franchise that can spend\n actual money on players, and on nice lobby furniture,\n which is where Billy sits, staring at a classic baseball\n photo that hangs in the lobby.", "BILLY\n This is a contract for you to play\n baseball with the Oakland A's. A copy's", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "PETER\n This is the American League West. This\n year we're going to need to win between" ], [ "the A's team - the star players they are about to lose -\n their names set apart from the positions they're\n vacating: Jason Giambi (1B), Johnny Damon (CF), Jason", "Pena cleans out his locker. Several players stop by to\n say goodbye. Tejada --", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "PETER\n He gets on base.\n\n GRADY\n I got 37 free agents who are better than\n those guys.", "not worth the seven point five million\n Boston is paying him. You're lucky to\n have him off your payroll, it opens all\n kinds of interesting possibilities.", "(TO TARA)\n These guys are auctioning off my team one\n player at a time.\n\n \n\n SECRETARY V/O", "There are rich teams, poor teams, 50 feet\n of crap and then there's us. And now\n we've been gutted. We're organ donors to", "BILLY\n Arn. Billy. We gotta talk about Giambi.\n\n \n\n TARA\n Wait, we're losing Giambi, too?", "big heart in the last year his contract.\n Tend to play hard. We usually get a\n pretty good year out of them. Make up\n for some of the offense we lost.", "BILLY\n Good. What's the problem?\n\n \n\n GRADY\n The problem is that we've lost 3 key\n players that we now have to replace.", "BILLY\n New beginnings. Blue horizons.\n\n \n\n ALAN\n I read that you lost two players. Damon\n\n AND -", "JOHN\n For 41 million you built a playoff team.\n You lost Damon, Giambi, Isringhausen and", "BORAS V/O\n For seven and a half, Billy, you can keep\n Johnny Damon and we can be done thinking.\n I have to go, my plane is boarding.", "GRADY\n Alright, guys... we had a great year. We\n won 102 games and we only came a buck\n short in New York. Now the bad news...\n we've got three big holes to fill.", "120.\n\n \n\n \n Voos wanders off. Billy keeps looking at the players ...", "And finally Billy, who WALKS OUT.\n\n B143 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 5TH B143", "And Billy's out.\n SHARON holds her head in her hands and BILLY walks back\n to the dugout, passing a player with \"STRAWBERRY\" on his\n back.", "Legend: David Justice retired after the 2002 season,\n leaving baseball with a team-leading on-base percentage\n with most walks.\n\n 178 EXT. MLB FIELD 178", "ARN\n He's not staying in Oakland, Billy.\n\n BILLY\n What did the Yankees offer him?", "Ricardo Rincon.\n As the other players file out and say hello..." ], [ "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "They wait as Suzanne dials the Indians' GM, staring at\n the speakerphone that sits like a little island in the\n middle of the conference table.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "Billy's counterpart in Cleveland--Indians General Manager\n MARK SHAPIRO--35 and about three weeks into the job--sits", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "BILLY\n I just bought you from the Cleveland\n Indians.\n\n \n BILLY hangs up the phone. He sits all alone for a moment.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "(EXCITEDLY)\n Mr. Beane?\n Tara nods.\n\n \n\n ELIZABETH\n He's a saint.", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "Beane was taken in the first round of the\n amateur draft back in 1980, separated\n from All-Star outfielder Daryl Strawberry", "Grady closes the video room door for privacy. The only\n other person in sight is manager Art Howe, in his office\n in street clothes. He shuts his windowed door so Grady\n and Billy can talk in confidence.", "the Indians in a game that Oakland\n appeared to have put away.\n And then - BILLY sits calmly...waits for it...and--", "18 INT. MARK SHAPIRO'S OFFICE - CLEVELAND - DAY 18", "As Art trudges toward the mound to pull his starter, he\n touches his left arm. Magnante emerges from the pen -\n and Peter, up in a VIP box, flips open his phone.", "(THEN)\n Now, I'm going to Cleveland to poach an\n outfielder named Brandon Garcia --" ], [ "(EXCITEDLY)\n Mr. Beane?\n Tara nods.\n\n \n\n ELIZABETH\n He's a saint.", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "BILLY\n Yeah, he's lost faith for the season. I\n think he's gonna dump him.\n\n \n\n PETER\n Hardcore.", "BILLY\n Why's he laughing? I'm gonna fire that\n guy, why the hell is he --\n\n \n\n PAUL\n Everybody's laughing.", "BILLY\n I'm not gonna fire you, Grady.\n\n \n\n GRADY\n Go fuck yourself, Billy.", "SABEAN V/O\n I'll think (about) --\n\n BILLY\n Think about it and call me back.\n\n \n He hangs up.", "JOE MORGAN V/O\n They're bean counters in Oakland. That's\n bean with an \"e\" at the end. They're card", "JOHN HENRY, the new owner of the Boston Red Sox, is\n shouting at him from the owner's box. BILLY gives a kind\n of wave.", "BILLY\n We're going to miss you.\n\n \n Jeremy leaves. Billy looks at Art from the door.\n\n BILLY\n Adkins is gone, too.", "And Billy's out.\n SHARON holds her head in her hands and BILLY walks back\n to the dugout, passing a player with \"STRAWBERRY\" on his\n back.", "BILLY\n And Grady? Nobody cares about a 102 win\n season.\n\n \n Billy storms out.", "As Art trudges toward the mound to pull his starter, he\n touches his left arm. Magnante emerges from the pen -\n and Peter, up in a VIP box, flips open his phone.", "JUSTICE looking tired, HATTEBERG missing the scoop.\n Art hits another grounder which Hatteberg botches again.\n Art looks at Billy a good long beat, then hits to another", "ASSISTANT\n Mr. Beane? Mark's ready to see you now.\n\n \n\n 17 OMITTED 17", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "GRADY (CONT'D)\n You're making it impossible for yourself\n to get another job once Schott fires you", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah." ], [ "PETER\n Forget the fish. In this room is every\n available player at every level of\n professional baseball, and somewhere in\n that group are 25 players that everyone\n has else has thrown out.", "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "BILLY\n To evaluate three available players.\n\n \n\n PETER\n Yeah.\n\n BILLY\n And how many did you do?", "PETER\n You're doing it for what the money says.\n It says what it says to any player who\n gets big money: that they're worth it.", "Billy, standing at the door, surveys the room, his eyes\n moving from player to player as they're hanging up their\n street clothes. The team's equipment manager, pouring\n himself a cup of coffee, glances over -", "(HE DOES)\n What do you do?\n\n \n\n PETER\n Mostly player evaluation right now.\n\n 31.", "baseball man. There are intangibles\n that only a scout can see in a player\n that you're not going to pick up with\n just numbers, with someone who doesn't", "Two large white-boards dominate a wall, covered with\n magnetic strips with players' names on them.\n\n 18.\n\n 18.", "BILLY\n That's what we're looking for. And\n that's what we'll find. Three players\n whose average OBP is -", "GRADY\n Look, we're gonna find 25 guys, put `em\n through player development, teach `em how", "major league teams to misjudge their\n players and mismanage their teams.\n They're still asking the wrong questions.\n People who run baseball teams still think", "BILLY\n Because I believe in what we're doing. I\n believe the numbers. I believe the record\n doesn't accurately reflect the team and", "GEORGE\n He can't catch a ball in the outfield.\n I've seen him lose a ball in the\n moonlight.\n Billy puts up another name: DAVID JUSTICE.", "BILLY\n This is my team. And they've taken the\n field. They're world class athletes who\n are fighting for their lives and I stand", "from. We're trying to design the game to\n your strengths. This has nothing to do\n with you being a great hitter -- you're a", "120.\n\n \n\n \n Voos wanders off. Billy keeps looking at the players ...", "BILLY\n Shut up.\n\n \n And now we have QUICK SCENES OF BILLY TAKING PLAYERS\n\n ASIDE --", "You could be a superstar before you've\n even graduated. But to get to that\n level, you need to work with our people.\n Pro-ball is where you need to be to", "(TO TARA)\n These guys are auctioning off my team one\n player at a time.\n\n \n\n SECRETARY V/O" ], [ "REPORTER #1 V/O\n This is something special now and far be\n it for me to jinx it by saying how many\n consecutive games the A's have won--", "REPORTER V/O\n The A's begin this road trip on a 10 game\n winning streak, picking up two games on", "extending their streak to 17 in a row\n which is an American League record going\n back to 1954 and just three shy of the", "right back to win it in the bottom of the\n ninth with another three run homer by\n Miguel Tejada. And the A's have won eight\n in a row!", "DECIDING GAME 5\n Minnesota Twins at Oakland A's\n The camera pans down the huge scoreboard. It's", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "REPORTER\n Who would have thought in April I'd be\n saying this: The A's won their 18th game", "RANDA of the Royals singles to left field.\n But the Oakland fans are still jubilant and do the wave.", "LEGEND:\n\n \n September 4, 2002\n Kansas City Royals at Oakland A's", "The game plays on TV as BILLY bench presses. The A's are\n up by three runs in the ninth inning but the Indians have\n a runner on first.", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "At the end of a tunnel, the A's empty dugout. The empty\n diamond. Just a couple of the floodlights are on.", "Ibanez and Randa high-five each other at the plate,\n passing Billy as they head to their dugout. Okay, the\n Royals are on the board now: 11-2, but just barely. Until-", "The A's have fallen to 19-25.\n\n \n\n 80 EXT. YANKEE STADIUM - NIGHT 80", "88 EXT. OAKLAND COLISEUM - DAY 88\n\n\n \n The A's take batting practice.\n LEGEND: May 23, 2002", "152 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH 152", "Crack! 55,000 erupt. The A's leap to the front of the\n dugout steps and watch.", "3rd. Unfortunately the idyllic moment is short-lived as\n Dye strikes out swinging and the teams swap places. The\n A's take the field with TIM HUDSON pitching.", "They are not stealing. They are just\n winning. And Art Howe is the reason.", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been" ], [ "2002 ALDS", "LEGEND:\n\n \n September 4, 2002\n Kansas City Royals at Oakland A's", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "right back to win it in the bottom of the\n ninth with another three run homer by\n Miguel Tejada. And the A's have won eight\n in a row!", "Legend: Scott Hatteberg played three more seasons with\n the A's, then signed with Cincinnati in 2006 - as a first\n baseman. He retired in 2007.", "At the end of a tunnel, the A's empty dugout. The empty\n diamond. Just a couple of the floodlights are on.", "It's the Twins vs. the A's. A TWINS PLAYER stands at\n first, stoic. Scott figures \"What the hell?\" and turns\n to him.", "3rd. Unfortunately the idyllic moment is short-lived as\n Dye strikes out swinging and the teams swap places. The\n A's take the field with TIM HUDSON pitching.", "DECIDING GAME 5\n Minnesota Twins at Oakland A's\n The camera pans down the huge scoreboard. It's", "JOE MORGAN V/O\n The flaw in the A's thinking, and this\n comes from the top of their organization--\n is their failure to comprehend you have\n to manufacture runs in the post season.", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "The A's have fallen to 19-25.\n\n \n\n 80 EXT. YANKEE STADIUM - NIGHT 80", "strikes out, Mabry grounds out... A stunned A'S FAN\n stands up with his arms out in a \"WTF??\" gesture. While", "They are not stealing. They are just\n winning. And Art Howe is the reason.", "The same shot as at the beginning: the Coliseum from high\n above, only this time the final game of the division\n series is being played at home.\n\n LEGEND:", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "BRENNAMAN V/O\n It is bedlam in New York. The Yankees -\n down two games to none - have come back\n to win three, and the Division Series.", "152 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH 152", "Peter walks up to Billy, just as -\n A poke off the bat sends Jeremy Giambi scrambling back\n like a postman trying to escape a mad dog. The ball\n lands behind him." ], [ "million dollars per win and you paid two-\n hundred and sixty thousand. Yes, I want\n you to be my General Manager.", "They wait as Suzanne dials the Indians' GM, staring at\n the speakerphone that sits like a little island in the\n middle of the conference table.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "BILLY\n Is it Boston? You're talking to Boston?\n What are they offering?\n\n BORAS (ON PHONE)\n What does it matter to you?", "Beane was taken in the first round of the\n amateur draft back in 1980, separated\n from All-Star outfielder Daryl Strawberry", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "Legend: Peter Brand left Oakland in 2004 to become the\n General Manager of the Dodgers. He's now with the San\n Diego Padres.", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "ARN\n He's not staying in Oakland, Billy.\n\n BILLY\n What did the Yankees offer him?", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "Unlike the A's, this is a franchise that can spend\n actual money on players, and on nice lobby furniture,\n which is where Billy sits, staring at a classic baseball\n photo that hangs in the lobby.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "BILLY\n Yeah.\n\n \n\n BORAS (V.O.)\n Billy. Scott. I just got off the phone\n with Dan." ], [ "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "REPORTER #2 V/O\n --one game shy of 20 consecutive wins,\n they have a shot at redemption. How rare", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "REPORTER V/O\n The A's begin this road trip on a 10 game\n winning streak, picking up two games on", "152 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH 152", "25 EXT. OAKLAND COLISEUM - MORNING 25", "176 INT. OAKLAND COLISEUM LOCKER ROOM - DAY 176", "1 INT. OAKLAND COLISEUM - NIGHT 1", "158 EXT. OAKLAND COLISEUM - SAME TIME 158", "RANDA of the Royals singles to left field.\n But the Oakland fans are still jubilant and do the wave.", "The game plays on TV as BILLY bench presses. The A's are\n up by three runs in the ninth inning but the Indians have\n a runner on first.", "REPORTER #1 V/O\n This is something special now and far be\n it for me to jinx it by saying how many\n consecutive games the A's have won--", "89 INT. OAKLAND COLISEUM - DAY 89", "DECIDING GAME 5\n Minnesota Twins at Oakland A's\n The camera pans down the huge scoreboard. It's", "29 EXT. OAKLAND COLISEUM - NIGHT 29", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "47 INT. OAKLAND COLISEUM - DAY 47", "91 EXT. OAKLAND COLISEUM - LATER - NIGHT 91", "extending their streak to 17 in a row\n which is an American League record going\n back to 1954 and just three shy of the", "163 EXT. OAKLAND COLISEUM - NIGHT 163" ], [ "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "BILLY\n Well, let's go buy Barry Bonds, then.\n This is the team we've got and this is\n the team we'll win with.\n\n 90.", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "BILLY in an A's uniform. He stands and watches a called\n third strike sail past him.\n\n UMPIRE\n Strike!", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "Unlike the A's, this is a franchise that can spend\n actual money on players, and on nice lobby furniture,\n which is where Billy sits, staring at a classic baseball\n photo that hangs in the lobby.", "BILLY\n Because I believe in what we're doing. I\n believe the numbers. I believe the record\n doesn't accurately reflect the team and", "BILLY\n Exactly. Sounds like an Oakland A\n already. Yes, he's got a little damage\n in his elbow.", "PETER\n Hatteberg.\n\n \n\n BILLY\n He can barely hold a baseball. But he's\n our guy now.\n Billy sits.", "BILLY\n Everybody, listen up. You may not look\n like a winning ball team. In fact, you\n look nothing like a winning ball team.", "BILLY\n You know -- the Yankees are coming to\n town. If it were me -- I'd want to take\n that three point five and shove it up\n their ass. But I'm a competitor.", "BILLY\n This is a contract for you to play\n baseball with the Oakland A's. A copy's", "BILLY playing for minor League Toledo. He swings and pops\n up lamely to the PITCHER, throwing his bat down in\n frustration as he jogs hopelessly to first and we", "Peter walks up to Billy, just as -\n A poke off the bat sends Jeremy Giambi scrambling back\n like a postman trying to escape a mad dog. The ball\n lands behind him.", "HENRY\n Why it took someone so long to hire that\n guy is beyond me.\n\n \n\n BILLY\n Because baseball hates him." ], [ "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "HENRY\n Why it took someone so long to hire that\n guy is beyond me.\n\n \n\n BILLY\n Because baseball hates him.", "BILLY\n This is a contract for you to play\n baseball with the Oakland A's. A copy's", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "BILLY\n And because players have been overlooked\n because they don't rise to the standards\n of traditional baseball thinking, we", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "Unlike the A's, this is a franchise that can spend\n actual money on players, and on nice lobby furniture,\n which is where Billy sits, staring at a classic baseball\n photo that hangs in the lobby.", "PETER\n Hatteberg.\n\n \n\n BILLY\n He can barely hold a baseball. But he's\n our guy now.\n Billy sits.", "BILLY\n It just got away from him.\n\n \n They watch David Justice do wind sprints.\n\n BILLY\n He's still got it.", "ART\n Scott Hatteberg can't hit.\n\n \n\n BILLY\n He gets on--\n\n 76.", "major league teams to misjudge their\n players and mismanage their teams.\n They're still asking the wrong questions.\n People who run baseball teams still think", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "BILLY\n I can't compete against a hundred and\n twenty million dollar payroll with a\n forty million dollar payroll.", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "unusual, if not eccentric, you have to\n wonder what Billy Beane is thinking.\n BILLY catches a glance of ELIZABETH HATTEBERG taking her" ], [ "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "PETER\n Mr. Schott, it's Peter Brand. Sorry I\n left you on hold. Billy asked me to call\n you back. He's on another line.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "Peter walks up to Billy, just as -\n A poke off the bat sends Jeremy Giambi scrambling back\n like a postman trying to escape a mad dog. The ball\n lands behind him.", "30 INT. OAKLAND COLISEUM - DAY 30\n\n\n \n Billy and Peter walk down a long, subterranean corridor.\n Peter carries a laptop and a slim notebook.", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "PETER\n Hatteberg.\n\n \n\n BILLY\n He can barely hold a baseball. But he's\n our guy now.\n Billy sits.", "PETER\n Baseball thinking is medieval. It's stuck\n in the Dark Ages. I have a more\n scientific view of the game.\n\n BILLY\n Keep going, Peter.", "play. From the field, we see Billy finding his place in\n the seats behind home plate. Peter is already there.", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "Billy sits at a table. A baseball SLAMS down in front of\n him. He looks up to see where it came from. PETER is\n standing in the doorway.", "Billy's seated at his desk. Peter reluctantly dials a\n number from a list, the number across from the Phillies'\n GM's name. It connects on the speaker.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "They watch him lay off a pitch an inch outside the strike\n zone. Peter gives Billy a look that says, You see that?", "BILLY\n What do you do?\n\n \n\n PETER\n I'm special assistant to Mark Shapiro.", "BILLY\n Yeah.\n\n \n\n BORAS (V.O.)\n Billy. Scott. I just got off the phone\n with Dan.", "BILLY\n I'm pulling them out of Pete's, actually.\n\n (THEN)\n And another thing. When a guy reaches\n first base, be social.", "PETER\n This is the hardest thing there is to do\n in baseball.\n\n BILLY\n You got that from Bull Durham?" ], [ "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PETER\n Mr. Schott, it's Peter Brand. Sorry I\n left you on hold. Billy asked me to call\n you back. He's on another line.", "PETER\n Baseball thinking is medieval. It's stuck\n in the Dark Ages. I have a more\n scientific view of the game.\n\n BILLY\n Keep going, Peter.", "PETER\n Hatteberg.\n\n \n\n BILLY\n He can barely hold a baseball. But he's\n our guy now.\n Billy sits.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "They watch him lay off a pitch an inch outside the strike\n zone. Peter gives Billy a look that says, You see that?", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "30 INT. OAKLAND COLISEUM - DAY 30\n\n\n \n Billy and Peter walk down a long, subterranean corridor.\n Peter carries a laptop and a slim notebook.", "PETER\n You were a good baseball player.\n\n \n\n BILLY\n Would you have drafted me in the first\n round?", "BILLY\n What are you doing in baseball?\n\n \n\n PETER\n I love baseball.", "BILLY\n I'm pulling them out of Pete's, actually.\n\n (THEN)\n And another thing. When a guy reaches\n first base, be social.", "Peter walks up to Billy, just as -\n A poke off the bat sends Jeremy Giambi scrambling back\n like a postman trying to escape a mad dog. The ball\n lands behind him.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "PETER\n What?\n\n BILLY\n After I left you ran me through your\n computer, right? Would you have drafted\n me in the first round?", "PETER V/O\n ...point 3-5 below the AL average field\n which isn't bad.\n\n (BEAT)\n Billy?\n\n 94.", "PETER\n This is the hardest thing there is to do\n in baseball.\n\n BILLY\n You got that from Bull Durham?", "BILLY\n Thanks.\n Billy gets up to leave. As he exits, he sees Peter enter" ], [ "PETER\n Maryland.\n\n \n\n BILLY\n Where did you go to school?\n\n PETER\n Yale.", "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "Peter, in a Yale Bulldogs uniform, scoops a grounder to\n second. As he throws out a Yale Bulldog - freeze.", "PETER\n Mr. Schott, it's Peter Brand. Sorry I\n left you on hold. Billy asked me to call\n you back. He's on another line.", "PETER\n This is stupid.\n\n \n\n BILLY\n Man-up, Yale.", "BILLY\n Kid from Yale once blocked a trade I was\n trying to make. What'd you study?\n\n \n\n PETER\n Economics.", "PETER\n\n (PAUSE)\n I'd have drafted you in the ninth round.\n No signing bonus. You'd have passed and\n gone to Stanford.", "BILLY\n I hate Yale.\n\n \n\n PETER\n Why?", "PETER\n Peter Brand.\n\n \n\n BILLY\n I don't give a rat's ass about your name.", "He leaves. Peter watches the door close, then glances\n back to the tape as Youkilis takes ball four and waddles\n down to first base.", "PETER\n Baseball thinking is medieval. It's stuck\n in the Dark Ages. I have a more\n scientific view of the game.\n\n BILLY\n Keep going, Peter.", "PETER\n Those are my only choices?\n\n \n\n BILLY\n Go on the road with the team.\n\n CUT TO:", "Legend: Peter Brand left Oakland in 2004 to become the\n General Manager of the Dodgers. He's now with the San\n Diego Padres.", "PETER\n Hatteberg.\n\n \n\n BILLY\n He can barely hold a baseball. But he's\n our guy now.\n Billy sits.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "BILLY\n Thanks.\n Billy gets up to leave. As he exits, he sees Peter enter", "Peter walks up to Billy, just as -\n A poke off the bat sends Jeremy Giambi scrambling back\n like a postman trying to escape a mad dog. The ball\n lands behind him.", "They watch him lay off a pitch an inch outside the strike\n zone. Peter gives Billy a look that says, You see that?", "BILLY\n What are you doing in baseball?\n\n \n\n PETER\n I love baseball.", "PETER\n Forget the fish. In this room is every\n available player at every level of\n professional baseball, and somewhere in\n that group are 25 players that everyone\n has else has thrown out." ], [ "The game plays silently on the TV as Billy lifts weights.\n Not wanting to watch but not being able not to, he looks\n at the screen to see Pena trotting out to first base ...", "He leaves. Peter watches the door close, then glances\n back to the tape as Youkilis takes ball four and waddles\n down to first base.", "A younger-looking SHARON is sitting in field level seats,\n looking on nervously and trying not to show it.\n BILLY half-swings at the breaking ball, holding his swing\n at the last minute.", "BILLY emerges from a tunnel to a sight Billy's denied\n himself for 138 games: The lit-up ballpark with a game in", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "Billy and his wife drive home from a game in silence,\n their infant daughter Casey asleep in a car seat in back.\n Sharon regards Billy's hands, clutched too tightly to the\n steering wheel.", "ART, as he always does, is watching not from the railing\n but from the bench.\n\n \n BILLY walks into the dugout without saying hello.", "Durham turns away and heads back to the dugout.\n The A's have lost the series.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "Howe pulls Bradford.\n Rincon throws a controversial strike out. The Royals\n batter, TUCKER, protests, and fans go crazy BOOING.", "JUSTICE looking tired, HATTEBERG missing the scoop.\n Art hits another grounder which Hatteberg botches again.\n Art looks at Billy a good long beat, then hits to another", "And Billy's out.\n SHARON holds her head in her hands and BILLY walks back\n to the dugout, passing a player with \"STRAWBERRY\" on his\n back.", "Billy is watching on a muted television as he sees Dye\n fly out to right field. As Hatte approaches the plate, he\n kills the TV.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "the-ground pitch, and the ball sails wide of the catcher.\n Somebody ducks. Art Howe glances with a long-suffering\n look to Billy.", "As Art trudges toward the mound to pull his starter, he\n touches his left arm. Magnante emerges from the pen -\n and Peter, up in a VIP box, flips open his phone.", "Art Howe looks like he can't stand it any longer. In the\n dugout, Koch looks like a psychopath ready to kill." ], [ "million dollars per win and you paid two-\n hundred and sixty thousand. Yes, I want\n you to be my General Manager.", "PETER\n He offered to make you the highest paid\n GM in pro sports.\n\n 161.\n\n 161.", "BILLY\n Is it Boston? You're talking to Boston?\n What are they offering?\n\n BORAS (ON PHONE)\n What does it matter to you?", "BILLY\n What did they offer?\n\n \n\n BORAS V/O\n They offered seven and a quarter.", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "They wait as Suzanne dials the Indians' GM, staring at\n the speakerphone that sits like a little island in the\n middle of the conference table.", "BILLY\n Just to be clear -- they offered seven\n and a quarter.\n\n BORAS V/O\n Yes.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "ARN\n He's not staying in Oakland, Billy.\n\n BILLY\n What did the Yankees offer him?", "JOHN\n Steve Schott told me he's offering you a\n new contract.\n\n BILLY\n Yes he is.", "BILLY\n Seven point five?\n\n \n\n BORAS V/O\n Seven point five.", "BORAS V/O\n No, they offered seven and a quarter and\n I'm thinking about it.\n (nothing from Billy)\n And you're thinking -- what.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "SHAPIRO V/O\n And you can? There's half a million on\n his contract and at least one other\n suitor.", "BILLY\n Yeah.\n\n \n\n BORAS (V.O.)\n Billy. Scott. I just got off the phone\n with Dan.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters." ], [ "extending their streak to 17 in a row\n which is an American League record going\n back to 1954 and just three shy of the", "The standings graphic shows the A's have just moved up\n into a three-way tie for first place--\n\n 139.\n\n 139.", "REPORTER V/O\n The A's begin this road trip on a 10 game\n winning streak, picking up two games on", "REPORTER #1 V/O\n This is something special now and far be\n it for me to jinx it by saying how many\n consecutive games the A's have won--", "right back to win it in the bottom of the\n ninth with another three run homer by\n Miguel Tejada. And the A's have won eight\n in a row!", "the Mariners and the Angels, and it\n should be noted this is their longest\n winning streak in six years heading into--", "3rd. Unfortunately the idyllic moment is short-lived as\n Dye strikes out swinging and the teams swap places. The\n A's take the field with TIM HUDSON pitching.", "REPORTER\n Who would have thought in April I'd be\n saying this: The A's won their 18th game", "in a row, that's two-shy of tying, three-\n shy of beating the American League record-", "The game plays on TV as BILLY bench presses. The A's are\n up by three runs in the ninth inning but the Indians have\n a runner on first.", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "positions as the \"games-out\" and winning percentage\n numbers change like an adding machine, too fast for us to\n really follow, but then:", "Crack! 55,000 erupt. The A's leap to the front of the\n dugout steps and watch.", "The scoreboard shows us that it's still tied in the\n bottom of the ninth. Nobody's out. DYE grabs a bat and\n walks to the plate. Then, inexplicably, Howe turns to-", "They are not stealing. They are just\n winning. And Art Howe is the reason.", "is it to win 20 games in a row? This\n rare: No American League team has ever\n done it.", "At the end of a tunnel, the A's empty dugout. The empty\n diamond. Just a couple of the floodlights are on.", "BILLY\n I heard 7 in a row.\n Billy clicks off the TV and it's very quiet. Billy is\n scrolling down numbers that show trends and comparisons\n of all of the A's relief pitching.", "great. We're still in the record books.\n But if we win, we've changed the game.\n We've put it on its head and shoved it up", "REPORTER #2 V/O\n --one game shy of 20 consecutive wins,\n they have a shot at redemption. How rare" ], [ "Legend: Peter Brand left Oakland in 2004 to become the\n General Manager of the Dodgers. He's now with the San\n Diego Padres.", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "BILLY\n This is a contract for you to play\n baseball with the Oakland A's. A copy's", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "BILLY\n Exactly. Sounds like an Oakland A\n already. Yes, he's got a little damage\n in his elbow.", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "Unlike the A's, this is a franchise that can spend\n actual money on players, and on nice lobby furniture,\n which is where Billy sits, staring at a classic baseball\n photo that hangs in the lobby.", "176 INT. OAKLAND COLISEUM LOCKER ROOM - DAY 176", "Grady closes the video room door for privacy. The only\n other person in sight is manager Art Howe, in his office\n in street clothes. He shuts his windowed door so Grady\n and Billy can talk in confidence.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "Billy's counterpart in Cleveland--Indians General Manager\n MARK SHAPIRO--35 and about three weeks into the job--sits", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "ARN\n He's not staying in Oakland, Billy.\n\n BILLY\n What did the Yankees offer him?", "98 INT. OAKLAND COLISEUM - CORRIDOR - DAY 98\n\n Billy shoves a wad of Copenhagen under his lip as he and\n Peter walk-and-talk.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "They wait as Suzanne dials the Indians' GM, staring at\n the speakerphone that sits like a little island in the\n middle of the conference table." ], [ "Beane was taken in the first round of the\n amateur draft back in 1980, separated\n from All-Star outfielder Daryl Strawberry", "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PETER\n Baseball thinking is medieval. It's stuck\n in the Dark Ages. I have a more\n scientific view of the game.\n\n BILLY\n Keep going, Peter.", "GRADY\n You want to replace Jason Giambi with not\n one but three defective players?\n\n \n\n BILLY\n You got it.", "PETER\n\n (PAUSE)\n I'd have drafted you in the ninth round.\n No signing bonus. You'd have passed and\n gone to Stanford.", "PETER\n What?\n\n BILLY\n After I left you ran me through your\n computer, right? Would you have drafted\n me in the first round?", "wins, you buy runs. You're trying to\n replace Johnny Damon. The Red Sox look at\n Johnny Damon and they see a star worth", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "major league teams to misjudge their\n players and mismanage their teams.\n They're still asking the wrong questions.\n People who run baseball teams still think", "unusual, if not eccentric, you have to\n wonder what Billy Beane is thinking.\n BILLY catches a glance of ELIZABETH HATTEBERG taking her" ], [ "Howe pulls Rincon. Tam comes in to relieve him.\n Sweeney's up. In rapid succession, we seem him battle off", "Art Howe looks like he can't stand it any longer. In the\n dugout, Koch looks like a psychopath ready to kill.", "PETER\n And Cash. And a player to be named\n later.\n\n BILLY\n You already have my job. What else do you\n want from me?", "Howe pulls Bradford.\n Rincon throws a controversial strike out. The Royals\n batter, TUCKER, protests, and fans go crazy BOOING.", "PETER\n Come on Billy, Schott's going to want\n something in exchange for letting you out\n of your contract and I want Youkilis.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "Grady closes the video room door for privacy. The only\n other person in sight is manager Art Howe, in his office\n in street clothes. He shuts his windowed door so Grady\n and Billy can talk in confidence.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "Art Howe comes out of the dugout, gives the signal for\n \"underhander,\" takes the ball from Hudson.", "They are not stealing. They are just\n winning. And Art Howe is the reason.", "PETER\n You want me to tell Pena he's been\n traded?\n\n \n\n BILLY\n Be a man.", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "JUSTICE looking tired, HATTEBERG missing the scoop.\n Art hits another grounder which Hatteberg botches again.\n Art looks at Billy a good long beat, then hits to another", "BILLY\n What about the Mets for Venafro?\n\n \n\n PETER\n You just offered him to the Giants.", "Beane was taken in the first round of the\n amateur draft back in 1980, separated\n from All-Star outfielder Daryl Strawberry", "BILLY\n Why's that? You've got the Venezuelan\n kid in North Carolina you're bringing up.\n\n SHAPIRO\n We dished him to Detroit. Keep up.", "GRADY\n You want to replace Jason Giambi with not\n one but three defective players?\n\n \n\n BILLY\n You got it.", "wins, you buy runs. You're trying to\n replace Johnny Damon. The Red Sox look at\n Johnny Damon and they see a star worth", "The scoreboard shows us that it's still tied in the\n bottom of the ninth. Nobody's out. DYE grabs a bat and\n walks to the plate. Then, inexplicably, Howe turns to-", "As they near the scouting room, Billy sees ART HOWE\n waiting for him outside it.\n\n BILLY\n Hey, Art." ], [ "The game plays silently on the TV as Billy lifts weights.\n Not wanting to watch but not being able not to, he looks\n at the screen to see Pena trotting out to first base ...", "BILLY\n I don't watch the games.\n\n \n\n PETER\n Is this a joke?", "He leaves. Peter watches the door close, then glances\n back to the tape as Youkilis takes ball four and waddles\n down to first base.", "BILLY emerges from a tunnel to a sight Billy's denied\n himself for 138 games: The lit-up ballpark with a game in", "ART, as he always does, is watching not from the railing\n but from the bench.\n\n \n BILLY walks into the dugout without saying hello.", "Billy haunts the field, talking to himself. Eventually\n he stands at the plate, and has an imaginary at bat.\n\n CUT TO:\n\n 165.", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "Billy is watching on a muted television as he sees Dye\n fly out to right field. As Hatte approaches the plate, he\n kills the TV.", "Billy runs the warning track with a small radio that he\n turns on long enough to follow what's happening, and\n switches it off again.", "positions as the \"games-out\" and winning percentage\n numbers change like an adding machine, too fast for us to\n really follow, but then:", "A younger-looking SHARON is sitting in field level seats,\n looking on nervously and trying not to show it.\n BILLY half-swings at the breaking ball, holding his swing\n at the last minute.", "PETER\n Any sort of extra discipline in the first\n three pitches will help us.\n\n \n A game is on TV in the background. Billy makes various\n comments the the screen --", "BARRY\n He never comes home from the games.", "Pena and you won two more games without\n them than you did with them.\n And we begin a slow push-in on BILLY... this is the first", "The game plays on TV as BILLY bench presses. The A's are\n up by three runs in the ninth inning but the Indians have\n a runner on first.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "He gestures for Peter to go into the scouting room alone.\n He'd rather not, but does. The scouts, assuming perhaps", "the World Series and in fact have done something much\n more rare.\n Billy is trying to make a fast unnoticed exit. After\n pushing through the crowd, he walks outside of the club", "BILLY\n A bunt is an out. You're paid to avoid\n outs, not make them.", "sound off but we can hear the live crowd in the stadium.\n CRACK--a TEXAS RANGER hits a three-run homer and BILLY\n walks out of the room and" ], [ "(EXCITEDLY)\n Mr. Beane?\n Tara nods.\n\n \n\n ELIZABETH\n He's a saint.", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "JOE MORGAN V/O\n They're bean counters in Oakland. That's\n bean with an \"e\" at the end. They're card", "BILLY\n Come on.\n\n \n Billy makes a strong gesture indicating Peter to follow.\n Which he does. They exit the offices into", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "SABEAN V/O\n I'll think (about) --\n\n BILLY\n Think about it and call me back.\n\n \n He hangs up.", "PETER\n Did he make you a good offer?\n\n \n\n BILLY\n It was fine.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "BILLY\n\n (BEAT)\n Yep.\n\n \n\n ALAN\n You know what I say?", "ELIZABETH\n Mr. Beane? I'm Elizabeth Hatteberg. We\n met at my house last Christmas.", "The place quiets down as BILLY comes in. They've all\n heard the news and they've never experienced a move like\n this in their careers.", "Billy looks out at the Boston scenery. He steals a\n glance at the paper in his hand, John's offer, pensive...\n\n CUT TO:", "Pete just stares at him. Finally, Billy reaches into his\n pocket, takes out the folded piece of paper and hands it\n to Peter.\n Peter looks at it...", "on its way to your agent. Discuss it with\n your wife and let us know.\n (They get up and\n Billy calls off)", "ASSISTANT\n Mr. Beane? Mark's ready to see you now.\n\n \n\n 17 OMITTED 17", "(THEN)\n Yes, I added the please.\n (listens; to Billy)\n No.\n Billy thinks intensely. Finally --", "JOHN\n I heard about that.\n\n (INTO PHONE)\n Can you have some coffee in there for us?\n\n (BEAT)\n Thank you." ], [ "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "JOE MORGAN V/O\n They're bean counters in Oakland. That's\n bean with an \"e\" at the end. They're card", "RANDA of the Royals singles to left field.\n But the Oakland fans are still jubilant and do the wave.", "125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125\n\n Hatteberg in the clubhouse. Billy enters.", "98 INT. OAKLAND COLISEUM - CORRIDOR - DAY 98\n\n Billy shoves a wad of Copenhagen under his lip as he and\n Peter walk-and-talk.", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!", "152 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH 152", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "176 INT. OAKLAND COLISEUM LOCKER ROOM - DAY 176", "89 INT. OAKLAND COLISEUM - DAY 89", "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "BILLY\n Exactly. Sounds like an Oakland A\n already. Yes, he's got a little damage\n in his elbow.", "the Indians in a game that Oakland\n appeared to have put away.\n And then - BILLY sits calmly...waits for it...and--", "47 INT. OAKLAND COLISEUM - DAY 47", "BILLY\n This is a contract for you to play\n baseball with the Oakland A's. A copy's", "91 EXT. OAKLAND COLISEUM - LATER - NIGHT 91", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "158 EXT. OAKLAND COLISEUM - SAME TIME 158" ], [ "(EXCITEDLY)\n Mr. Beane?\n Tara nods.\n\n \n\n ELIZABETH\n He's a saint.", "JOE MORGAN V/O\n They're bean counters in Oakland. That's\n bean with an \"e\" at the end. They're card", "BILLY\n Nah, make it Mr. Beane.\n\n HATTEBERG\n Mr. Beane --", "BILLY\n Why's he laughing? I'm gonna fire that\n guy, why the hell is he --\n\n \n\n PAUL\n Everybody's laughing.", "CHAD\n Excuse me, Mr. Beane.\n\n \n\n BILLY\n Hey Chad.", "BILLY\n I'm not gonna fire you, Grady.\n\n \n\n GRADY\n Go fuck yourself, Billy.", "BILLY\n Yeah, he's lost faith for the season. I\n think he's gonna dump him.\n\n \n\n PETER\n Hardcore.", "BILLY\n We're going to miss you.\n\n \n Jeremy leaves. Billy looks at Art from the door.\n\n BILLY\n Adkins is gone, too.", "HATTEBERG\n So... Mr. Beane?\n\n \n\n BILLY\n Billy's fine.\n\n 109.", "And Billy's out.\n SHARON holds her head in her hands and BILLY walks back\n to the dugout, passing a player with \"STRAWBERRY\" on his\n back.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "SABEAN V/O\n I'll think (about) --\n\n BILLY\n Think about it and call me back.\n\n \n He hangs up.", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "JUSTICE looking tired, HATTEBERG missing the scoop.\n Art hits another grounder which Hatteberg botches again.\n Art looks at Billy a good long beat, then hits to another", "GRADY (CONT'D)\n You're making it impossible for yourself\n to get another job once Schott fires you", "SCOTT\n They're gonna hate me.\n\n \n\n WASHINGTON\n (motioning to BILLY)\n No, they're gonna hate him.", "JOHN HENRY, the new owner of the Boston Red Sox, is\n shouting at him from the owner's box. BILLY gives a kind\n of wave.", "BILLY\n We gotta let someone go. It's Mags.\n It's gotta be Mags.", "BILLY\n No, you played me. And you're playing me\n now. Congratulations, asshole. You win.\n Billy hangs up on him.", "TARA V/O\n They had three times your payroll, Billy.\n\n \n\n BILLY\n Yeah..." ], [ "KID\n Are you Billy Beane?\n\n BILLY\n Yes.\n\n \n\n KID\n That was a pretty serious choke.", "JOE MORGAN V/O\n The flaw in the A's thinking, and this\n comes from the top of their organization--\n is their failure to comprehend you have\n to manufacture runs in the post season.", "It's the Twins vs. the A's. A TWINS PLAYER stands at\n first, stoic. Scott figures \"What the hell?\" and turns\n to him.", "REPORTER #2 V/O\n None of the Oakland fans in their cars\n down there have forgotten the A's\n inglorious history-making choke in Game 5\n of the ALDS last October and tonight--", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "BILLY playing for the Minnesota Twins. He swings hard at\n a pitch and strikes out and we", "BILLY (VO)\n It's Billy Beane. Oakland A's.\n\n \n SCOTT was expecting that it would be someone else...", "DECIDING GAME 5\n Minnesota Twins at Oakland A's\n The camera pans down the huge scoreboard. It's", "Peter, in exhaustion, his eyes glued again to the screen\n watching shots (ARCHIVAL VIDEO) of euphoric Twins\n reveling and A's stunned at their misfortune.", "ANNOUNCER V/O\n ...Billy Beane, who's quickly\n establishing a new record for breaking", "to play Oakland A baseball. This is no\n time to push the panic button. This is\n the way we've been doing it for 150", "PETER\n Hello?\n\n \n\n BILLY\n It's Billy Beane.", "PASSENGER\n Hey, aren't you Billy Beane?\n\n BILLY\n Yeah.", "of youth. The pitch comes. He swings. And as his bat\n makes contact - freeze.\n Legend: Billy Beane is still the General Manager of the\n Oakland A's.", "BILLY\n Hola. Hey, I know this must seem a bit\n sudden, but the Oakland A's have been", "At the end of a tunnel, the A's empty dugout. The empty\n diamond. Just a couple of the floodlights are on.", "BILLY playing for minor League Toledo. He swings and pops\n up lamely to the PITCHER, throwing his bat down in\n frustration as he jogs hopelessly to first and we", "BILLY\n He thinks differently than anyone in\n baseball.\n\n GRADY\n He's not in baseball. He's in pork and\n beans.", "The bad news is you got to tell Mags he\n threw his last pitch for the Oakland A's\n last night.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!" ], [ "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "PETER\n Forget the fish. In this room is every\n available player at every level of\n professional baseball, and somewhere in\n that group are 25 players that everyone\n has else has thrown out.", "PETER\n Hi.\n\n BILLY\n Who are you?\n\n \n\n PETER\n My name is Peter Brand.", "BILLY\n To evaluate three available players.\n\n \n\n PETER\n Yeah.\n\n BILLY\n And how many did you do?", "BILLY\n That's what we're looking for. And\n that's what we'll find. Three players\n whose average OBP is -", "POLONI\n These three players, by your own\n admission, are defective in one way or\n another.\n\n \n\n BILLY\n Yeah.", "120.\n\n \n\n \n Voos wanders off. Billy keeps looking at the players ...", "Billy takes a Marks-A-Lot, jots down three names on\n strips, and approaches the board.\n\n BILLY\n So here's who we want. One.", "GEORGE\n He can't catch a ball in the outfield.\n I've seen him lose a ball in the\n moonlight.\n Billy puts up another name: DAVID JUSTICE.", "GRADY\n Look, we're gonna find 25 guys, put `em\n through player development, teach `em how", "BILLY\n This is my team. And they've taken the\n field. They're world class athletes who\n are fighting for their lives and I stand", "BILLY looks around at the PLAYERS, who are looking at\n Billy...", "BILLY\n Shut up.\n\n \n And now we have QUICK SCENES OF BILLY TAKING PLAYERS\n\n ASIDE --", "Two large white-boards dominate a wall, covered with\n magnetic strips with players' names on them.\n\n 18.\n\n 18.", "Billy and his scouting department - ten men older than\n him - all former players and tobacco chewers still, each", "Billy, standing at the door, surveys the room, his eyes\n moving from player to player as they're hanging up their\n street clothes. The team's equipment manager, pouring\n himself a cup of coffee, glances over -", "PETER\n You're doing it for what the money says.\n It says what it says to any player who\n gets big money: that they're worth it.", "Art Howe stands mid-field as the starting lineup is\n announced. One by one, players join him on the field.\n The honor guard presents the flag as everyone stands for", "PETER\n No.\n\n BILLY\n I'm a player, cut me from the roster.", "The place is going crazy. ELIZABETH is screaming as she\n watches her husband get mauled by his teammates at the\n plate." ], [ "the World Series and in fact have done something much\n more rare.\n Billy is trying to make a fast unnoticed exit. After\n pushing through the crowd, he walks outside of the club", "the rich. The Red Sox took our kidneys\n and the Yankees took our heart. And now\n I'm listening to the same old shit about", "He leaves. Peter watches the door close, then glances\n back to the tape as Youkilis takes ball four and waddles\n down to first base.", "Legend: Boston never traded to Billy - or anyone else -\n their Greek God of Walks, Kevin Youkilis. He was part of\n the historic World Series Championship Red Sox of 2004,", "me who won 19? I don't even know. It's\n 4th place at the Olympics. Any other\n team wins the World Series this year...", "wins, you buy runs. You're trying to\n replace Johnny Damon. The Red Sox look at\n Johnny Damon and they see a star worth", "JOHN HENRY, the new owner of the Boston Red Sox, is\n shouting at him from the owner's box. BILLY gives a kind\n of wave.", "TARA V/O\n You take a team with that payroll to the\n playoffs? You take the Yankees to a fifth\n game? I'm not even sure the better team\n won.", "BILLY\n Aw, man. I spend the season trying to\n reduce it to numbers and we won on\n romance. Suddenly it's the Natural with\n Hatteberg. Scott Hatteberg.", "JOHN\n So why'd you return my call?\n\n \n\n BILLY\n You're the Red Sox, and I think I can\n help you.", "right back to win it in the bottom of the\n ninth with another three run homer by\n Miguel Tejada. And the A's have won eight\n in a row!", "Legend: David Justice retired after the 2002 season,\n leaving baseball with a team-leading on-base percentage\n with most walks.\n\n 178 EXT. MLB FIELD 178", "BRENNAMAN V/O\n It is bedlam in New York. The Yankees -\n down two games to none - have come back\n to win three, and the Division Series.", "As the players shower and change into street clothes,\n Art, Billy and Washington discuss Hatteberg, who knows\n they're discussing him.", "JUSTICE\n You know, I got a couple World Series\n rings. I think I'm a pretty good\n competitor, too.\n\n BILLY", "The same shot as at the beginning: the Coliseum from high\n above, only this time the final game of the division\n series is being played at home.\n\n LEGEND:", "3rd. Unfortunately the idyllic moment is short-lived as\n Dye strikes out swinging and the teams swap places. The\n A's take the field with TIM HUDSON pitching.", "Kevin Youkilis, in a Red Sox uniform, shimmies at the\n plate. As he lays off ball four and the umpire points to\n first - freeze.", "They are not stealing. They are just\n winning. And Art Howe is the reason.", "We establish the famous home of the Red Sox before\n finding BILLY standing on home plate. He looks around at\n the historic stadium...\n\n JOHN (O.S.)\n Billy Beane!" ] ]

[ "What year does Beane need to assemble a team for?", "Which players are leaving to be free agents?", "Who did Beane meet when he was visiting the Cleveland Indians?", "Who causes Beane to be fired?", "What stat does Brand use to select players?", "How many consecutive games did the A's win before they faced the Royals?", "Who beat the A's in the 2002 Postseason?", "What team offers Beane a position to be a GM?", "Who is Oakland playing when they attempt their 20th consecutive win?", "What caused Billy Beane to want to assemble a better team? ", "Why is it difficult for Billy Beane to recruit the best players? ", "Where did Billy Beane meet Peter Brand? ", "Why was Billy Beane impressed with Peter Brand in their first meeting? ", "Where did Peter Brand go to college?", "Why did Beane not want to go to the Kansas City Royals game after it had begun? ", "Who offers Beane a GM position and a $12M salary?", "The A's tied for longest winning streak after how many consecutive wins? ", "Who is the Oakland Athletics general manager?", "How does Beane test Brand's theory for drafting players?", "Who does Beane trade away to force Howe to cooperate?", "Why does Bean avoid going to games in progress?", "Who asks Beane to come and work for them at the end of the story?", "Who convinces Bean to attend the Oakland game against the Kansas City Royals?", "Who gets Bean fired?", "Why is Beane disapointed when the Oakland Athletics lose to the Minnesota Twins in the postseason?", "How does Brand select players?", "Which team won the 2004 World Series?" ]

[ [ "2002", "2002" ], [ "Johnny Damon, Jason Giambi, and Jason Isringhausen", "Giambi, Damon, and Isringhausen" ], [ "Peter Brand", "Peter Brand " ], [ "Grady Fuson", "grady fuson" ], [ "On-Base percentage or OBP", "On-base percentage" ], [ "19", "19" ], [ "Minnesota Twins", "Minnesota Twins " ], [ "Boston Red Sox", "Oakland Athletics" ], [ "Kansas City Royals", "Kansas City Royals" ], [ "The loss to the Yankees in the 2001 post season. ", "His loss in the 2001 post season" ], [ "The team's lack of financial resources. ", "He has a limited payroll" ], [ "They men in Cleveland. ", "At the Cleveland Indian's office" ], [ "Peter Brand said that he would not have drafted him as early as he had been drafted. ", "he had radical new ways to assess players" ], [ "Yale University.", "Yale" ], [ "He was superstitious. ", "he's superstitious " ], [ "The Boston Red Sox. ", "The Boston Red Sox" ], [ "19", "19" ], [ "Billy Beane", "Billy Beane" ], [ "Beane asks Brand if he would have drafted him (Beane) out of high school.", "ask if he would draft him" ], [ "Carlos Pena", "Carlos Pena" ], [ "He is superstitious", "he's superstitious " ], [ "The owner of the Boston Red Sox", "the Boston Red Sox" ], [ "His daughter", "His Daughter" ], [ "Grady Fuson", "Grady Fuson " ], [ "He wanted a championship to prove the sabermetric model was a success.", "nothing short of a championship could be considered a success" ], [ "Based on their on-base percentage (OBP)", "exclusively going on their OBP" ], [ "Boston Red Sox", "red sox" ] ]

[ [ "CHAPTER I\n\nTHE FINDING OF THE COPPER CYLINDER", "South Pole--and in a warm climate, too? Then it seems deuced odd, too,\nthat we should pick up this copper cylinder with the manuscript. I\nhardly know what to think about it.\"", "\"But they never pack up pemmican in copper cylinders,\" said Melick,\nwho had been using his knife to scrape off the crust from the vessel.\n\n\"Copper!\" exclaimed Oxenden. \"Is it copper?\"", "\"Look for yourselves,\" said Melick, quietly.\n\nThey all looked, and could see, where the knife had cut into the\nvessel, that it was as he said. It was copper.", "effective, made his appearance armed with an axe. With this he\nattacked the copper cylinder, and by means of a few dexterous blows\nsucceeded in cutting it open. Then he looked in.", "served to loosen the contents, which seemed tightly packed, but came\ngradually down until at length they could be seen and drawn forth.\nMelick drew them forth, and the contents of the mysterious copper", "A Strange Manuscript Found in a Copper Cylinder\n\nBy James De Mille\n\n\n\nCONTENTS", "\"Oh yes,\" said the doctor; \"and you would also have manufactured the\npapyrus and the copper cylinder on board to beguile the time.\"", "I. The Finding of the Copper Cylinder\n II. Adrift in the Antarctic Ocean\n III. A World of Fire and Desolation", "\"A few months!\" said the doctor. \"A few years you mean. Why, man,\nthere are successive layers of barnacles on that copper cylinder which\nshow a submersion of at least three years, perhaps more.\"", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "End of the Project Gutenberg EBook of A Strange Manuscript Found in a Copper\nCylinder, by James De Mille", "It was as follows:\n\n\n\"To the finder of this:", "with great care, and saw writing there, which, though faded, was still\nlegible. It was a letter, and there were still signs of long and", "\"It looks like a can of preserved meat,\" said the doctor.\n\n\"It certainly is a can,\" said Melick, \"for it's made of metal; but as\nto preserved meat, I have my doubts.\"", "\"I dare say the writer picked up that papyrus and the copper cylinder\nin China or Japan, and made use of it in this way.\"", "lips. It was some time before we could recover ourselves; then we went\nto the figure, and stooped down to examine it.", "the sides of the cavern and in the middle, and upon each of these I\nsaw lying certain things covered over with cloths. The shape of these\nwas more than suggestive--it told me all. It was a sight of", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "themselves in the caverns. Then after a few steps we came to the base\nof a tall half-pyramid, the summit of which was above the tops of the" ], [ "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "hundred, or two hundred. For my own part, however, I feel like\ntaking More's statements at their utmost value; and the idea that\nI have gathered from his narrative is that of a vast sea like the", "\"This other package must be the manuscript,\" said Oxenden, \"and it'll\ntell all about it.\"\n\n\"Such a manuscript'll be better than meat,\" said the doctor,\nsententiously.", "\"Yes. More has given us very many words in their language. Now he\nhimself says that these words had an Arabic sound. He was slightly", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "acquainted with that language. What will you say if I tell you that\nthese words are still more like Hebrew?\"", "all covered with writing--one in English, another in French, and a\nthird in German. It was the same message, written in these three\ndifferent languages. But at that moment they scarcely noticed this.", "regarded by Almah with greatest curiosity. She felt the paper,\ninspected it, touched it with her tongue, and seemed to admire it\ngreatly; but the pencil excited still greater admiration. I signed to", "\"See through what?\" said the doctor, hastily, pricking up his ears\nat this, and peering keenly at Melick through his spectacles.\n\n\"Why, the manuscript, of course.\"", "\"Never mind the Egyptian papyrus,\" said Featherstone, in feverish\ncuriosity. \"Let's have the contents of the manuscript. You, Melick,", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "\"And now,\" said Featherstone, \"let's have some more of the manuscript.\nMelick is tired of it, I dare say. I would relieve him, but I'm an", "\"Yes, Hebrew,\" said Oxenden. \"They are all very much like Hebrew\nwords, and the difference is not greater than that which exists\nbetween the words of any two languages of the Aryan family.\"", "At last I received an answer. He had perhaps heard me, and was\nanswering, or, at any rate, he was warning me.\n\n\"More,\" he cried, \"fly, fly, fly to the boat! Save yourself!\"", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "\"More,\" said he, \"do you remember any of the burial-service?\"\n\nI understood his meaning at once.\n\n\"Yes,\" I said, \"some of it--a good deal of it, I think.\"", "\"The whole story,\" said Melick, \"may have been written by one of\nRoss's men and thrown overboard. If I'd been on that expedition I\nshould probably have written it to beguile the time.\"" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "At last I received an answer. He had perhaps heard me, and was\nanswering, or, at any rate, he was warning me.\n\n\"More,\" he cried, \"fly, fly, fly to the boat! Save yourself!\"", "height, and he gave it the name of Mount Terror. Mark, now, how\nwonderfully this resembles More's account. Well, just here his\nprogress was arrested by a barrier which presented a perpendicular", "birds, just as More describes them as doing. Like birds they could\nalso perch on trees, and could crawl like bats and lizards along the\nrocks and cliffs.", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "As I make out, More's course led him over about ten degrees of\nlongitude in a southwest course. That course depended altogether upon\nthe ocean currents. Now there is a great antarctic drift-current,", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "suddenly upon More while he was resting with Almah after his flight\nwith the run-away bird. That I take to be the Megalosaurus. This", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "pulled up at the South Pole. It's a wonder More didn't think of\nthat--or the writer of this yarn, whoever he may be. Well, for my", "\"Well,\" said Featherstone, \"More's story seems to be approaching a\ncrisis. What do you think of it now, Melick? Do you still think it a\nsensational novel?\"" ], [ "\"Yes,\" replied the doctor. \"Wilkes pretends to have found a continent,\nbut his account of it makes it quite evident to my mind that he saw", "\"Why, if it were thrown off the coast of England it would be carried\naway, in the ordinary course of things, and might make the tour of the\nworld.\"", "pouring into this vast polar sea, perhaps to issue forth from it by\nsome similar passage. Here, then, was the South Pole--a world by\nitself: and how different from that terrible, that iron land on the", "As I make out, More's course led him over about ten degrees of\nlongitude in a southwest course. That course depended altogether upon\nthe ocean currents. Now there is a great antarctic drift-current,", "the land, making it a world by itself. There was the sun, low on the\nhorizon, which it traversed on its long orbit, lighting up all these", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "islands, or through them, and then west to the Cape of Good Hope.\nBesides, even here we may find land with animals and vegetation; who\nknows?\"", "evident to me that most of these animals belong to races that no\nlonger exist among us, and that this world at the South Pole has many\ncharacteristics which are like those of what is known as the Coal", "the immense extent of level surface with the environment of lofty\nmountains. I had crossed the antarctic circle; I had been borne onward\nfor an immense distance. Over all the known surface of the earth no", "in the South Pacific. It was, in fact, a coral islet, with a reef of\nrocks encircling it on every side. The vegetation, however, was unlike", "\"But these volcanoes mentioned by More are not the Erebus and Terror,\nare they?\" said Lord Featherstone.\n\n\"Of course not; they are on the other side of the world.\"", "After this it probably sweeps around the great South Polar ocean, and\nemerges at the opposite side, not far from the volcanoes Erebus and\nTerror.\"", "CHAPTER XXIII\n\nTHE ISLAND OF FIRE", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "\"The antarctic fiddlestick,\" said he, contemptuously. \"It is far more\nlikely to be some volcanic island in the South Sea. There's a", "\"You see,\" he continued, addressing himself to the others, \"Desolation\nIsland is in 50 degrees south latitude and 70 degrees east longitude.", "appeared. Here there was a large space, where the tree-ferns grew in\nlong lines crossing each other, and making a denser shade than usual.\nOn the lower side were several stone edifices of immense size; and", "lost was plain. If he were still alive he would call to me; but his\nvoice had been silenced for some time. All was over, and that noble", "Do not imagine that the surface of the earth is different at the poles\nfrom what it is anywhere else. If we get to the South Pole we shall\nsee there what we have always seen--the open view of land or water," ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "\"My dear More,\" said Agnew, cheerily, \"they're not a bad lot. They\nmean well. They can't help their looks. You're too suspicious and", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "\"More,\" continued the doctor, \"is too general in his descriptions. He\nhas not a scientific mind, and he gives but few data; yet I can bring", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "\"Well,\" said Featherstone, \"More's story seems to be approaching a\ncrisis. What do you think of it now, Melick? Do you still think it a\nsensational novel?\"", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "hundred, or two hundred. For my own part, however, I feel like\ntaking More's statements at their utmost value; and the idea that\nI have gathered from his narrative is that of a vast sea like the", "\"Oh, More put on his magnifying-glasses just then.\"" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"More,\" continued the doctor, \"is too general in his descriptions. He\nhas not a scientific mind, and he gives but few data; yet I can bring", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "\"Oh, More put on his magnifying-glasses just then.\"", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "\"My dear More,\" said Agnew, cheerily, \"they're not a bad lot. They\nmean well. They can't help their looks. You're too suspicious and", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "\"Well,\" said Featherstone, \"More's story seems to be approaching a\ncrisis. What do you think of it now, Melick? Do you still think it a\nsensational novel?\"", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "\"More,\" said he, \"do you remember any of the burial-service?\"\n\nI understood his meaning at once.\n\n\"Yes,\" I said, \"some of it--a good deal of it, I think.\"", "At last I received an answer. He had perhaps heard me, and was\nanswering, or, at any rate, he was warning me.\n\n\"More,\" he cried, \"fly, fly, fly to the boat! Save yourself!\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "\"It is difficult to make it out accurately,\" said the doctor. \"More\ngives no data. In fact he had none to give. He couldn't take any\nobservations.\"" ], [ "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "envied by the others, and have many advantages. The cares and burdens\nof wealth, as well as wealth itself, are here considered a curse, and", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "I spoke, who loved light and life; about men who loved themselves\nbetter than others; of that world where men feared death and loved\nlife, and sought after riches and lived in the light.", "to become what I once was. It is only too easy to grow rich; and, you\nknow, poverty once forfeited can never return except in rare\ninstances. I have, however, succeeded in getting rid of most of my", "\"I was born,\" said he, \"in the most enviable of positions. My father\nand mother were among the poorest in the land. Both died when I was a", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "wealth, chiefly through the fortunate advent of Almah and afterward of\nyourself. This, I confess, has been my salvation. Neither of you had", "\"Yes,\" said Almah. \"Here among these people the paupers form the most\nhonored, influential, and envied portion of the community.\"", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "are directly the opposite of ours, and yet no nearer happiness than we\nare. It shows us a world where our evil is made a good, and our good\nan evil; there all that we consider a blessing is had in", "seeing that they were rapidly dying out, concluded to depart to\nanother and a better world. One beauty of this theory is that it\ncannot possibly be disproved; another is that it satisfies all the", "We give up everything for life. A long life is everywhere considered\nas the highest blessing; and there is no one who is willing to die, no\nmatter what his suffering may be. Riches also are desired by all, for", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "\"The very opposite. We are so made that we hate and fear death; to us\nhe is the King of Terrors. Poverty is terrible also, since it is", "boldness, but was himself confounded by my words. I told him that in\nmy country self was the chief consideration, self-preservation the law\nof nature; death the King of Terrors; wealth the object of universal", "Here among the Kosekin the wealthy class forms the mass of the people,\nwhile the aristocratic few consist of the paupers. These are greatly", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "\"At length, on one eventful day, I learned that one of my associates\nhad by a long course of reckless folly become the richest man in all" ], [ "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "to become what I once was. It is only too easy to grow rich; and, you\nknow, poverty once forfeited can never return except in rare\ninstances. I have, however, succeeded in getting rid of most of my", "would be ruin to him and to many others; for they would at once be\npunished by the bestowal of the extremest wealth, by degradation to", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "\"But you love riches, do you not? and you must want them still?\"\n\n\"No,\" said Layelah, \"I do not want them now.\"\n\n\"Why, what do you want?\" I asked.", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "watchful enough over my blessed estate of poverty. Surrounded as I was\nby those who were only too ready to take advantage of my ignorance or\nwant of vigilance, I soon fell into evil ways, and gradually, in spite", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "us altogether. For see, how is it now? You pretend to love riches and\nlife, and yet you are ready to give up everything for Almah.\"", "pauper class. The position of Almah and myself illustrates this. Our\nignorance of the blessings and honors of poverty led us to receive\nwhatever was offered us. Taking advantage of our innocence and", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "wealth, chiefly through the fortunate advent of Almah and afterward of\nyourself. This, I confess, has been my salvation. Neither of you had", "\"At length, on one eventful day, I learned that one of my associates\nhad by a long course of reckless folly become the richest man in all", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "We give up everything for life. A long life is everywhere considered\nas the highest blessing; and there is no one who is willing to die, no\nmatter what his suffering may be. Riches also are desired by all, for", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "known, they would punish me by giving me new contributions of wealth\nand new offices and powers, which I do not want.\"" ], [ "themselves from trees. When in repose it rested on its hind legs like\na bird, and held its neck curving behind, so that its enormous head", "are directly the opposite of ours, and yet no nearer happiness than we\nare. It shows us a world where our evil is made a good, and our good\nan evil; there all that we consider a blessing is had in", "people, among which there were a few that seemed natural and\nintelligible? Among these was your system of honoring above all men\nthose who procure the death of the largest number. You, with your", "seeing that they were rapidly dying out, concluded to depart to\nanother and a better world. One beauty of this theory is that it\ncannot possibly be disproved; another is that it satisfies all the", "\"Why, if it were thrown off the coast of England it would be carried\naway, in the ordinary course of things, and might make the tour of the\nworld.\"", "these. In that case there might be no sudden plunge, after all. The\nstream might run on for many thousand miles through this terrific\ncavern gloom, in accordance with natural laws; and I might thus live,", "but afterward found out to be living things. They looked like\nalligators, but were far larger than the largest alligators known\nto us, besides being of far more terrific aspect. Toward these the", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "requirements of the case; a third is that it accounts for the\ndisappearance of the pterodactyls in our world, and their appearance\nat the South Pole; and there are forty or fifty other facts, all", "\"No,\" said the doctor, \"I am coming to that now. That monster could\nhave been no other than the Plesiosaurus, one of the most wonderful", "\"What do you understand by this athaleb, doctor?\" asked Featherstone.\n\n\"The athaleb?\" said the doctor. \"Why, it is clearly the pterodactyl.\"", "\"Well,\" resumed the doctor, \"as I was saying, it must be undoubtedly\nthe pterodactyl. It is a most extraordinary animal, and is a species", "complied, or pretended to do so. In spite of this, however, we again\nfell behind, and I noticed that this always happened when the reins\nwere drawn tight. On making this discovery I suddenly seized both", "The Chief Pauper was puzzled at this. The others looked on quietly,\nthinking it probably a debate about some punctilio. Suddenly he seemed\nstruck with an idea.", "\"Why, they must have gone there on athalebs! Your friends the\npterodactyls probably lingered longest among the Troglodytes, who,", "Period. I allude in particular to the vast forests of fern, of\ngigantic grasses and reeds. At the same time the general climate and\nthe atmosphere seem like what we may find in the tropics at present.", "\"Their peculiar eyes,\" said Oxenden, \"are no doubt produced by\ndwelling in caves for many generations.\"\n\n\"On the contrary,\" said the doctor, \"it is their peculiarity of eye\nthat makes them dwell in caves.\"", "rows of terrible teeth like those of a crocodile. Its body was of\ngreat size. It walked on its hind-legs, so as to maintain itself in an", "the language of her people, and spoke of the punishments of the law as\nthough they were punishments in reality. Now, to me and to Almah these\nso-called punishments seemed rewards.", "birds, just as More describes them as doing. Like birds they could\nalso perch on trees, and could crawl like bats and lizards along the\nrocks and cliffs." ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "\"Well,\" said Featherstone, \"More's story seems to be approaching a\ncrisis. What do you think of it now, Melick? Do you still think it a\nsensational novel?\"", "\"More,\" continued the doctor, \"is too general in his descriptions. He\nhas not a scientific mind, and he gives but few data; yet I can bring", "\"Oh, More put on his magnifying-glasses just then.\"", "\"More,\" said he, \"do you remember any of the burial-service?\"\n\nI understood his meaning at once.\n\n\"Yes,\" I said, \"some of it--a good deal of it, I think.\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "\"My dear More,\" said Agnew, cheerily, \"they're not a bad lot. They\nmean well. They can't help their looks. You're too suspicious and", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "At last I received an answer. He had perhaps heard me, and was\nanswering, or, at any rate, he was warning me.\n\n\"More,\" he cried, \"fly, fly, fly to the boat! Save yourself!\"", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "Let us pause here for a moment to take a minuter survey of these four\nfriends. In the first place, there was Lord Featherstone himself," ], [ "our return home. It was the 17th of December when we left. From the\nfirst adverse winds prevailed, and in order to make any progress we", "Dieman's Land. This was in 1843. We made our voyage without any\ncasualty, landed our convicts in Hobart Town, and then set forth on", "foundered; he has escaped in a boat, either alone or with others; he\nhas been carried along this channel, and has landed here, afraid to go\nany farther.\"", "\"I wonder how he got here?\" said Agnew, at last. \"The letter mentions\na whaler. No doubt the ship has been driven too far south; it has", "was nothing now left but to retrace my steps and this I accordingly\ndid. I went back to the shore, and returned on my steps, shouting all\nthe time, until at length I was rejoiced to hear the answering shout", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "were obliged to keep well to the south. At length, on the 6th of\nJanuary, we sighted Desolation Island. We found it, indeed, a desolate", "So we pushed off, and rowed as we had never rowed before. Our progress\nwas difficult. The sea grew steadily rougher; the wind increased; the", "ship, Trevelyan Peak, and then felt anxious to lose sight of it\nforever. But the calm continued, and at length we drifted in close", "heart that had withstood so bravely and cheerily the rigors of the\nstorm, and the horrors of our desperate voyage, had been stilled in\ndeath by the vilest of miscreants.", "joyously. So we went on, returning on our course at a speed almost as\ngreat as that with which we had come. By this time the novelty had in", "seas, and was one third full of water. He worked away at this while I\nmanaged the boat, and then we took turns at bailing. In this way we\npassed the dreary night.", "suspected that the air itself might have denizens as tremendous as the\nland or the sea. Yet so it was, and afterward during the voyage I saw\nthem often. One in particular was so near that I observed it with", "Almah told me that they were going to bring the monster home, and had\nsent for opkuks to drag it along. The dead were also to be fetched\nback. There was no further necessity for us to remain, and so we\nreturned at once.", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "\"I happen to know all about that voyage, for I read a full report of\nit just before we started, and you can see for yourselves whether this\nmanuscript is credible or not.", "Teneriffe, abruptly from the sea, with no intervening hills to dwarf\nor diminish their proportions. They were ten or twelve miles apart,\nand the channel of water in which we were drifting flowed between", "We then raised the body and carried it to the place which Agnew had\nfound. So emaciated was the poor dead sailor that his remains were no", "chief stress. I can prove that the statements here are corroborated\nby those of Captain Ross in his account of that great voyage from\nwhich he returned not very long ago.\"", "After this it probably sweeps around the great South Polar ocean, and\nemerges at the opposite side, not far from the volcanoes Erebus and\nTerror.\"" ], [ "arose from these same volcanoes which had illuminated the northern sky\nwhen I was ashore, and followed me still with their glare. I had been\ncarried into this darkness, through some vast opening which now lay", "It was evening when we passed through. Night came on, and the darkness\nwas illuminated by the fiery glow of the volcanic flames. Worn out", "glow from the volcanic fires had become more brilliant in the\nincreasing darkness. The sides of the channel grew steeper, until at\nlast they became rocky precipices, rising to an unknown height. The", "We passed the lofty volcano; we saw more plainly the rivers of molten\nlava; we passed vast cliffs and bleak mountains, all of which were", "The channel now was about four miles wide. On either side arose\nthe lofty volcanoes vomiting forth flames and smoke with furious", "by occasional declivities, but all of solid rock, so dark as to be\nalmost black, and evidently of volcanic origin. At times there arose", "on farther the darkness increased, until at last I lost sight of the\nchief altogether, and he had to come back and lead me. After going\na little farther we came to a long, broad passage-way like a", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "At this I only persisted the more, and so we set forth. We went\nthrough the cavern passages. Few people were there; all seemed asleep.", "I followed. He then led the way into the cavern, while I, full of\nwonder, walked behind him.", "me to pass through. I did so. He followed, and then groped his way\nslowly along, while I accompanied and assisted him.", "between the two volcanoes. There the body of the dead sailor received\nus, and afterward chased us to the boat. Then came snow and volcanic", "and overhead there rolled a dense black canopy of smoke--altogether\nforming a terrific approach to that unknown and awful pathway upon\nwhich we were going. So we passed this dread portal, and then there", "themselves in the caverns. Then after a few steps we came to the base\nof a tall half-pyramid, the summit of which was above the tops of the", "At this Agnew was silent, and sat looking back for a long time. There\nwe could still see the glow of the volcanic fires, though they were", "thoughts of final escape came and went; but in such a situation hope\ncould not be sustained. The thick darkness oppressed the soul; and\nat length even the glow of the distant volcanoes, which had been", "behind was lighted up by the volcanic glare which still shone from\nafar; and in front the view was bounded by the icy heights of a", "I was taken along dark passages until I came to a cavern with a low,\ndark portal. Upon entering I found the darkness deeper than usual,", "passages we came at length to the door of a cavern as gloomy as the\none I had left. On entering this I found all dark and drear; and a", "the Island of Fire--a name which, from present appearances, was fully\njustified. As we went on and drew steadily nearer, the mass of glowing" ], [ "pouring into this vast polar sea, perhaps to issue forth from it by\nsome similar passage. Here, then, was the South Pole--a world by\nitself: and how different from that terrible, that iron land on the", "South Pole--and in a warm climate, too? Then it seems deuced odd, too,\nthat we should pick up this copper cylinder with the manuscript. I\nhardly know what to think about it.\"", "evident to me that most of these animals belong to races that no\nlonger exist among us, and that this world at the South Pole has many\ncharacteristics which are like those of what is known as the Coal", "Here the ice and snow ended. We thus came at last to land; but it was\na land that seemed more terrible than even the bleak expanse of ice", "the immense extent of level surface with the environment of lofty\nmountains. I had crossed the antarctic circle; I had been borne onward\nfor an immense distance. Over all the known surface of the earth no", "supposed central fires of the earth, and therefore created a heat\nas great as that of the equatorial regions. Here I found a tropical\nclimate--a land warmed not by the sun, but from the earth itself. Or", "After this it probably sweeps around the great South Polar ocean, and\nemerges at the opposite side, not far from the volcanoes Erebus and\nTerror.\"", "\"The antarctic fiddlestick,\" said he, contemptuously. \"It is far more\nlikely to be some volcanic island in the South Sea. There's a", "I. The Finding of the Copper Cylinder\n II. Adrift in the Antarctic Ocean\n III. A World of Fire and Desolation", "As I make out, More's course led him over about ten degrees of\nlongitude in a southwest course. That course depended altogether upon\nthe ocean currents. Now there is a great antarctic drift-current,", "antarctic pole. Here the earth was flat--an immense level with no\nroundness to lessen the reach of the horizon but an almost even\nsurface that gave an unimpeded view for hundreds of miles.", "\"No,\" said he, \"not with all this ice around us. It's the ice that\nkeeps the temperature in this cold state.\"", "other side of the mountains!--not a world of ice and frost, but one\nof beauty and light, with a climate that was almost tropical in its\nwarmth, and lands that were covered with the rank luxuriance of a", "which gave them the light of a perpetual day. These, I knew, were only\nthe creations of fiction; yet, after all, it seemed possible that the\nearth might contain vast hollow spaces in its interior--realms of", "\"Well, at any rate,\" said Melick, gravely, \"this athaleb solves the\ndifficult question as to how the Troglodytes emigrated to the South\nPole.\"\n\n\"How?\" asked the doctor.", "still the effect of vast ice-masses and of cold submarine currents\nmust be to render the climate severe. But at the South Pole it is\ndifferent. The observations of Ross and of More show us that there is", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "and a warmth of air which made me think of India. It was an amazing\nand an unaccountable thing, and I could only attribute it to the\nflattening of the poles, which brought the surface nearer to the", "\"What! amid all this ice?\" I cried. \"Are you mad?\"\n\n\"Mad?\" said he; \"I should certainly go mad if I hadn't hope.\"", "even if this be so, thirteen miles ought to make some difference. Now\nat the North Pole there seem to be causes at work to counterbalance\nthe effect of the internal heat, chiefly in the enormous accumulation" ], [ "CHAPTER I\n\nTHE FINDING OF THE COPPER CYLINDER", "\"But they never pack up pemmican in copper cylinders,\" said Melick,\nwho had been using his knife to scrape off the crust from the vessel.\n\n\"Copper!\" exclaimed Oxenden. \"Is it copper?\"", "\"Look for yourselves,\" said Melick, quietly.\n\nThey all looked, and could see, where the knife had cut into the\nvessel, that it was as he said. It was copper.", "effective, made his appearance armed with an axe. With this he\nattacked the copper cylinder, and by means of a few dexterous blows\nsucceeded in cutting it open. Then he looked in.", "The article in question was made of metal and was cylindrical in\nshape. It was soldered tight and evidently contained something. It was", "South Pole--and in a warm climate, too? Then it seems deuced odd, too,\nthat we should pick up this copper cylinder with the manuscript. I\nhardly know what to think about it.\"", "served to loosen the contents, which seemed tightly packed, but came\ngradually down until at length they could be seen and drawn forth.\nMelick drew them forth, and the contents of the mysterious copper", "\"Oh yes,\" said the doctor; \"and you would also have manufactured the\npapyrus and the copper cylinder on board to beguile the time.\"", "\"A few months!\" said the doctor. \"A few years you mean. Why, man,\nthere are successive layers of barnacles on that copper cylinder which\nshow a submersion of at least three years, perhaps more.\"", "Upon this Melick took the cylinder, turned it upside down, shook it\nsmartly, and then lifted it and pounded it against the deck. This", "\"It looks like a can of preserved meat,\" said the doctor.\n\n\"It certainly is a can,\" said Melick, \"for it's made of metal; but as\nto preserved meat, I have my doubts.\"", "\"I dare say the writer picked up that papyrus and the copper cylinder\nin China or Japan, and made use of it in this way.\"", "\"No,\" said he; \"there's something inside, but whatever it is, it isn't\nliquor. It's odd, too. The thing is of foreign make, evidently. I\nnever saw anything like it before. It may be Chinese.\"", "full-cocked, and directed her to point it in the air and pull the\ntrigger. It was necessary to take these precautions, as of course she\nwas quite ignorant of its nature. After this I left her and tried to", "The spot thus chosen was a dark, circular object, about a hundred\nyards away, and certainly did look very much like the extremity of", "A Strange Manuscript Found in a Copper Cylinder\n\nBy James De Mille\n\n\n\nCONTENTS", "I loaded the empty barrel and waited. The flash of light had revealed\nnothing, yet it had distracted my thoughts, and the work of reloading", "End of the Project Gutenberg EBook of A Strange Manuscript Found in a Copper\nCylinder, by James De Mille", "now; and if it availed not for defence it might at least serve to be\nused against ourselves. With this thought I handed the pistol to\nAlmah, and hurriedly whispered to her that if I were killed, she could", "about eighteen inches long and eight wide. The nature of the metal was\nnot easily perceptible, for it was coated with slime, and covered over" ], [ "CHAPTER I\n\nTHE FINDING OF THE COPPER CYLINDER", "South Pole--and in a warm climate, too? Then it seems deuced odd, too,\nthat we should pick up this copper cylinder with the manuscript. I\nhardly know what to think about it.\"", "\"But they never pack up pemmican in copper cylinders,\" said Melick,\nwho had been using his knife to scrape off the crust from the vessel.\n\n\"Copper!\" exclaimed Oxenden. \"Is it copper?\"", "\"Oh yes,\" said the doctor; \"and you would also have manufactured the\npapyrus and the copper cylinder on board to beguile the time.\"", "A Strange Manuscript Found in a Copper Cylinder\n\nBy James De Mille\n\n\n\nCONTENTS", "effective, made his appearance armed with an axe. With this he\nattacked the copper cylinder, and by means of a few dexterous blows\nsucceeded in cutting it open. Then he looked in.", "\"Look for yourselves,\" said Melick, quietly.\n\nThey all looked, and could see, where the knife had cut into the\nvessel, that it was as he said. It was copper.", "served to loosen the contents, which seemed tightly packed, but came\ngradually down until at length they could be seen and drawn forth.\nMelick drew them forth, and the contents of the mysterious copper", "End of the Project Gutenberg EBook of A Strange Manuscript Found in a Copper\nCylinder, by James De Mille", "I. The Finding of the Copper Cylinder\n II. Adrift in the Antarctic Ocean\n III. A World of Fire and Desolation", "\"A few months!\" said the doctor. \"A few years you mean. Why, man,\nthere are successive layers of barnacles on that copper cylinder which\nshow a submersion of at least three years, perhaps more.\"", "with great care, and saw writing there, which, though faded, was still\nlegible. It was a letter, and there were still signs of long and", "\"I dare say the writer picked up that papyrus and the copper cylinder\nin China or Japan, and made use of it in this way.\"", "\"This other package must be the manuscript,\" said Oxenden, \"and it'll\ntell all about it.\"\n\n\"Such a manuscript'll be better than meat,\" said the doctor,\nsententiously.", "\"See through what?\" said the doctor, hastily, pricking up his ears\nat this, and peering keenly at Melick through his spectacles.\n\n\"Why, the manuscript, of course.\"", "Melick made no further objection. He was as excited as the rest, and\nso he began the reading of the manuscript.\n\n\n\nCHAPTER II", "Melick said nothing, but, opening his knife, he cut the cords and\nunfolded the wrapper. He saw a great collection of leaves, just like\nthose of the letter, of some vegetable substance, smooth as paper, and\ncovered with writing.", "It was as follows:\n\n\n\"To the finder of this:", "Dinner was now announced, and Oxenden laid the manuscript aside;\nwhereupon they adjourned to the cabin, where they proceeded to discuss\nboth the repast and the manuscript.", "For some time nothing was said; they partook of the repast in silence;\nbut at length it became evident that they were thinking of the\nmysterious manuscript. Featherstone was the first to speak." ], [ "The natives now all crowded around us, making many strange gestures,\nwhich we did not understand. Some of them bowed low, others prostrated", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "As to the religion of the Kosekin, I could make nothing of it. They\nbelieve that after death they go to what they call the world of", "As we approached, the crowd of natives stood awaiting us, and looked\nmore repulsive than ever. We could see the emaciation of their bony", "We entered the cave. As we did so the natives heaped coal upon the\nfire, and the flames arose, lighting up the interior. We found here a", "benefiting others most directly. They refuse anything but the very\nsmallest pay, and insist on giving for this the utmost possible labor.\nTradesmen also have to supply the community with articles of all", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "Break a Jew's heart to hear of all that property wasted, and money\ngoing a-begging. Not a bad idea, though, that of theirs about money.", "seeing that they were rapidly dying out, concluded to depart to\nanother and a better world. One beauty of this theory is that it\ncannot possibly be disproved; another is that it satisfies all the", "or for fishing purposes. This thought made them seem less formidable,\nsince they would thus be instruments of food rather than weapons of\nwar. Meanwhile we drifted on as before, and the natives watched us,", "as these people do. They can never understand us, and we can never\nunderstand them. Oh, if I could but once more stand in my own dear\nnative land but for one moment--to see once more the scenes and the", "\"I suppose,\" said I, \"they would kill us if we asked them to do so?\"\n\n\"Yes,\" said Almah; \"for they think death the greatest blessing.\"", "Saying this I fired in the air. The report rang out with long echoes,\nand as the smoke swept away it showed us all the natives on the", "any scruples about accepting what was bestowed, and so I did not feel\nas though I was doing you any wrong in giving you all I had in the\nworld. Most of the people of this city have taken advantage of your", "themselves of these, and have been known to die of starvation; but\nthis is regarded as dishonorable, as taking an undue advantage of a", "\"Well, our slaves here would not--in fact could not--obey a command\nthat would be shocking to their natures. They think that we are in the\nbest of all lands, and my request to be sent home would be utterly\nmonstrous.\"", "Some spread out couches formed of the skins of birds for us to sit on;\nothers attended to the fire; others offered us gifts of large and\nbeautiful feathers, together with numerous trinkets of rare and", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "\"I suppose not,\" said Almah; \"but you will understand better after you\nhave been here longer. At any rate, you can see for yourself that the", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great" ], [ "I spoke, who loved light and life; about men who loved themselves\nbetter than others; of that world where men feared death and loved\nlife, and sought after riches and lived in the light.", "little. This cavern life was only tolerable during the light season,\nwhen the sun-glare was over the land; but now, when the beneficent and", "of endless atrocities. Life and light seemed to them as actual evils,\nand death and darkness the only things worthy of regard.", "bliss. They are eloquent about the happiness that awaits them there in\nthe sunless land--the world of darkness; but for my own part, it\nalways seemed to me a state of nothingness.", "our time. This was the dark season, and, as I had already learned, its\nadvent was always hailed with joy and celebrated with solemn services,\nfor the dark season freed them from their long confinement, permitted", "feelings were totally different from those of the people among whom\nshe was living. She loved the light, she feared death, and she had\nnever been able in the slightest degree to reconcile herself to the", "We entered the cave. As we did so the natives heaped coal upon the\nfire, and the flames arose, lighting up the interior. We found here a", "dark caverns, in which they lived and moved and had their being. It\nwas a puzzle to me whether the weakness of their eyes had caused\nthis dislike of light, or the habit of cave-dwelling had caused this", "eternal darkness which they love so well. It is the greatest of\nsacrifices, and is followed by the greatest of feasts. Thus the busy", "saw also that from the nature of their eyes the sunlight distressed\nthem, and in this cavern gloom they found their most congenial\ndwelling-place. From what I had thus far seen, this extraordinary", "I proposed this to her; she smiled sadly. \"You forget,\" said she,\n\"this season of light will not last much longer. In a few more joms\nthe dark season will begin, and then we should perish in a place like\nthis.\"", "perceive no end in that gloom. The twinkling lights served only to\ndisclose the darkness and to indicate the immensity of the cavern. In\nthe midst there arose two enormous columns, which were lost in the", "\"Thirdly, you are to have the blessing of darkness. You are to be\nremoved from this troublesome and vexatious light, which here is\nregarded as a curse, and henceforth live without it.", "faces that I love so well! Oh, how different is this land from mine!\nHere all is dark, all is terrible. There the people love the light and", "a nation of cave-dwellers, loving the dark--not exactly loving death,\nyet at any rate regarding it with merriment and pleasure; and so I", "which gave them the light of a perpetual day. These, I knew, were only\nthe creations of fiction; yet, after all, it seemed possible that the\nearth might contain vast hollow spaces in its interior--realms of", "all the circumstances of my life here conspired to perpetuate that\ncalm. For here all on the surface was pleasant and beautiful; all the\npeople were amiable and courteous and most generous. I had light and", "as these people do. They can never understand us, and we can never\nunderstand them. Oh, if I could but once more stand in my own dear\nnative land but for one moment--to see once more the scenes and the", "rejoice in the glorious sun, and when the dark season comes they wait,\nand have no other desire than long day. There we live under the sky,", "they might lurk in the deepest cavern gloom; to remain in life when\nthey might have the blessing of death. Selfishness, fear of death," ], [ "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "Saying this I fired in the air. The report rang out with long echoes,\nand as the smoke swept away it showed us all the natives on the", "As we approached, the crowd of natives stood awaiting us, and looked\nmore repulsive than ever. We could see the emaciation of their bony", "themselves of these, and have been known to die of starvation; but\nthis is regarded as dishonorable, as taking an undue advantage of a", "The appointed jom came. A procession was formed of the paupers. The\nchief did not go, as he never left the cavern except on the great", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "We give up everything for life. A long life is everywhere considered\nas the highest blessing; and there is no one who is willing to die, no\nmatter what his suffering may be. Riches also are desired by all, for", "benefiting others most directly. They refuse anything but the very\nsmallest pay, and insist on giving for this the utmost possible labor.\nTradesmen also have to supply the community with articles of all", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "The natives now all crowded around us, making many strange gestures,\nwhich we did not understand. Some of them bowed low, others prostrated", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "Break a Jew's heart to hear of all that property wasted, and money\ngoing a-begging. Not a bad idea, though, that of theirs about money.", "\"Here,\" said she, \"no one understands what it is to fear death.\nThey all love it and long for it; but everyone wishes above all to\ndie for others. This is their highest blessing. To die a natural\ndeath in bed is avoided if possible.\"", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "seeing that they were rapidly dying out, concluded to depart to\nanother and a better world. One beauty of this theory is that it\ncannot possibly be disproved; another is that it satisfies all the", "others. People thus spend years in trying to overreach one another, so\nas to make others richer than themselves. In a race each one tries to\nkeep behind; but as this leads to confusion, there is then a universal", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "from all these the paupers are exempt. There is a perpetual effort on\nthe part of the wealthy to induce the paupers to accept gifts, just" ], [ "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "Break a Jew's heart to hear of all that property wasted, and money\ngoing a-begging. Not a bad idea, though, that of theirs about money.", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "we take everything that is given us. You and I now possess as our own\nproperty all this city and all its buildings, and all the people have\nmade themselves our slaves.\"", "State politics here move, like individual affairs, upon the great\nprinciple of contempt for earthly things. The state is willing to\ndestroy itself for the good of other states; but as other states are", "this honor; the laborers in greater numbers; but it is the paupers who\nare chiefly favored. And this is a matter of complaint among the rich\nand powerful, that they cannot be sacrificed.\"", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "to become what I once was. It is only too easy to grow rich; and, you\nknow, poverty once forfeited can never return except in rare\ninstances. I have, however, succeeded in getting rid of most of my", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "\"I suppose not,\" said Almah; \"but you will understand better after you\nhave been here longer. At any rate, you can see for yourself that the", "\"Fourthly, the next decree is the high reward of imprisonment. You are\nto be delivered from the evils of liberty, and shut up in a dark\ncavern, from which it will be impossible to escape or to communicate\nwith anyone outside.", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "himself. Forgery occurs where one uses another's name so as to confer\nmoney on him.", "Overwhelmed thus with the cares of government, crushed under the\nweight of authority and autocratic rule, surrounded by countless\nslaves all ready to die for them, their lives would be embittered", "\"No,\" said Almah; \"I mean what I say. In this country the paupers form\nthe most honored and envied class.\"", "\"To take there the chief pauper of the season, who has won the prize\nof death by starvation. It is one of the greatest honors among the\nKosekin.\"\n\n\"Is Magones barren?\"" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "As I make out, More's course led him over about ten degrees of\nlongitude in a southwest course. That course depended altogether upon\nthe ocean currents. Now there is a great antarctic drift-current,", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "hundred, or two hundred. For my own part, however, I feel like\ntaking More's statements at their utmost value; and the idea that\nI have gathered from his narrative is that of a vast sea like the", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "foundered; he has escaped in a boat, either alone or with others; he\nhas been carried along this channel, and has landed here, afraid to go\nany farther.\"", "\"Why, if it were thrown off the coast of England it would be carried\naway, in the ordinary course of things, and might make the tour of the\nworld.\"", "Cumberland, England, so that he may learn the fate of his son. The MS.\naccompanying this contains an account of my adventures, which I should", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "of the climate here shows that. Yes, we are drawing north. We shall\nsoon emerge into warm waters and bright skies. So come along, and let\nus lose no more time.\"", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from" ], [ "the land, making it a world by itself. There was the sun, low on the\nhorizon, which it traversed on its long orbit, lighting up all these", "in the eye of the sun. We build our houses, and when the dark season\ncomes we fill them with lamps that make a blaze like the sun itself.\"", "which gave them the light of a perpetual day. These, I knew, were only\nthe creations of fiction; yet, after all, it seemed possible that the\nearth might contain vast hollow spaces in its interior--realms of", "upon which he threw his parting beam. So the sun passed away, and then\nthere came the beginning of the long dark season. At first, however,\nthere was rather twilight than darkness, and this twilight continued", "It was the end of the dark season. Then, as the sun rises for its\npermanent course around the heavens, when the long day of six months", "Then we went out-of-doors and came into the full blaze of that day\nwhich here knew no night, but prolonged itself into months. For a\nwhile Almah stood looking forth between the trees to where the bright", "began to illumine the world. There sparkled the sea, rising far away\nlike a watery wall, with the horizon high up in the sky; there rose", "and no decline--when all this world should be illuminated by the\never-circling sun--a sun that would never set until his long course\nof many months should be fully run. My heart swelled with rapture,", "impossible to say; but all this shows that the effect of the earth's\ninternal fires is very manifest in that region, and More has\npenetrated to a secluded world, which lies apart by itself, free from", "question, and I could not think of sleep until I had found out more\nabout the place. The aurora light, which constantly brightens and\nlessens in this strange world, was now shining gloriously, and I set", "disk of the sun, which was partly visible over the icy crest of the\ndistant mountains. Far away the sea was visible, rising high over the\ntops of the trees, while overhead the brighter stars were plainly", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "swiftly and gloriously all its innumerable beams, and flashing forth\nits lustrous glow upon the world. To us this was equal to the return", "by the sun or the moon, for it was midnight, and the cause lay on the\nearth and not in the skies. It was a deep, lurid glow, extending along", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "And now the sun, rolling along behind the icy mountain crest, rose\nhigher and higher every moment, and the bright light of a long day", "I pointed to the sun.\n\n\"Look there,\" said I. \"There is the sun in the northern sky--behind\nus. We have been drifting steadily toward the south.\"", "after all, this was only a theory, and there were other theories which\nwere totally different. As a boy I had read wild works of fiction\nabout lands in the interior of the earth, with a sun at the centre,", "supposed central fires of the earth, and therefore created a heat\nas great as that of the equatorial regions. Here I found a tropical\nclimate--a land warmed not by the sun, but from the earth itself. Or", "illuminated the general gloom. At length we came to an immense cavern,\nwhich was darker than ever, and without any lamps at all. Through a" ], [ "As to the religion of the Kosekin, I could make nothing of it. They\nbelieve that after death they go to what they call the world of", "For the Kosekin knew the art of writing. They had an alphabet of their\nown, which was at once simple and very scientific. There were no", "of the Kosekin language, while the aspirated Hebrew is represented by\nthe Kosekin medial.\"", "\"Yet there may be another reason for it, and I sometimes think that\nthe Kosekin may be nearer to the truth than we are. We have by nature", "THE KOSEKIN", "fortunate as you in all the history of the Kosekin. But you are the\nfavorite of the Kosekin now, and there is nothing that they will not\ndo for you.\"", "same 'Grimm's Law' will apply; and I am inclined to think that if they\nwere spelled with perfect accuracy they would show the same relation\nbetween the Kosekin language and the Hebrew that there is between the", "mentioned which corresponds to a kindred Hebrew word in accordance\nwith 'Grimm's Law.' For instance, Kosekin 'Op,' Hebrew 'Oph;' Kosekin", "\"That,\" said he, \"is substantially the order of the old Hebrew\nalphabet.\"\n\n\"But,\" said the doctor, \"the Kosekin alphabet differs in its order\naltogether from that.\"", "\"So I conclude,\" said Oxenden, calmly, ignoring Melick, \"that the\nKosekin are a Semitic people. Their complexion and their beards show", "cannot help seeing a connection between them and the Kosekin.\"", "These people call themselves the Kosekin. Their chief characteristic,\nor, at least, their most prominent one, is their love of darkness,", "have heard of it, as the Kosekin would have rejoiced greatly over such\nan event. For every death is to them an occasion of joy, and the death", "binds the Kosekin to the Semitic race.\"", "From these words it was evident to me that Layelah was a true child of\nthe Kosekin; for though she was of advanced sentiments she still used", "that I had found among the Kosekin the slightest desire to know where\nI had come from. Hitherto all had been content with the knowledge", "though nature had done much for her in giving her a larger portion of\noriginal selfishness than was common to her people, still she was a\nchild of the Kosekin, and her daring was all the more remarkable. And", "\"I suppose,\" said I, \"they will punish us in some way; but then\npunishment among the Kosekin is what seems honor and reward to me.", "before him. All were eager to go, but the Kosekin self-denial,\nself-sacrifice, and love for the good of others made each one", "\"What is it?\" asked the doctor.\n\n\"The Kosekin alphabet,\" said Oxenden.\n\n\"I can't see how you can make anything out of that,\" said the doctor." ], [ "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "all the labors of the working-class to be ultimately turned upon the\nunfortunate wealthy class. The workmen being the creators of wealth,\nand refusing to take adequate pay, cause a final accumulation of the", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "others. People thus spend years in trying to overreach one another, so\nas to make others richer than themselves. In a race each one tries to\nkeep behind; but as this leads to confusion, there is then a universal", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "era begins for the Kosekin, in which every man may be as poor as he\nlikes, and riches shall be unknown in the land.\"", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "benefiting others most directly. They refuse anything but the very\nsmallest pay, and insist on giving for this the utmost possible labor.\nTradesmen also have to supply the community with articles of all", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "watchful enough over my blessed estate of poverty. Surrounded as I was\nby those who were only too ready to take advantage of my ignorance or\nwant of vigilance, I soon fell into evil ways, and gradually, in spite", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "from all these the paupers are exempt. There is a perpetual effort on\nthe part of the wealthy to induce the paupers to accept gifts, just", "known, they would punish me by giving me new contributions of wealth\nand new offices and powers, which I do not want.\"", "envied by the others, and have many advantages. The cares and burdens\nof wealth, as well as wealth itself, are here considered a curse, and" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "impossible to say; but all this shows that the effect of the earth's\ninternal fires is very manifest in that region, and More has\npenetrated to a secluded world, which lies apart by itself, free from", "ice of the outer seas must be kept away altogether from that strange\ninner sea of which More speaks. Ross saw the volcanoes Erebus and\nTerror; More saw two others. How many more there may be it is", "\"Magones,\" said the doctor, \"is clearly a volcanic island, and, taken\nin connection with the other volcanoes around, shows how active must", "\"Where do you make out the position of More's volcanoes?\" asked\nFeatherstone.", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"But these volcanoes mentioned by More are not the Erebus and Terror,\nare they?\" said Lord Featherstone.\n\n\"Of course not; they are on the other side of the world.\"", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "arose from these same volcanoes which had illuminated the northern sky\nwhen I was ashore, and followed me still with their glare. I had been\ncarried into this darkness, through some vast opening which now lay", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "height, and he gave it the name of Mount Terror. Mark, now, how\nwonderfully this resembles More's account. Well, just here his\nprogress was arrested by a barrier which presented a perpendicular", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "between the two volcanoes. There the body of the dead sailor received\nus, and afterward chased us to the boat. Then came snow and volcanic", "glow from the volcanic fires had become more brilliant in the\nincreasing darkness. The sides of the channel grew steeper, until at\nlast they became rocky precipices, rising to an unknown height. The", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "finally sweeping on, it would reach More's volcanoes at a point which\nI should judge to be about 80 degrees south latitude and 10 degrees", "At last I received an answer. He had perhaps heard me, and was\nanswering, or, at any rate, he was warning me.\n\n\"More,\" he cried, \"fly, fly, fly to the boat! Save yourself!\"", "by occasional declivities, but all of solid rock, so dark as to be\nalmost black, and evidently of volcanic origin. At times there arose" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "\"Well, yes, I think so,\" said the doctor. \"Unfortunately, More is not\nat all close or accurate in his descriptions; he has a decidedly", "\"My dear More,\" said Agnew, cheerily, \"they're not a bad lot. They\nmean well. They can't help their looks. You're too suspicious and", "\"Well,\" said Featherstone, \"More's story seems to be approaching a\ncrisis. What do you think of it now, Melick? Do you still think it a\nsensational novel?\"", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "\"More,\" continued the doctor, \"is too general in his descriptions. He\nhas not a scientific mind, and he gives but few data; yet I can bring", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "\"Yes. More has given us very many words in their language. Now he\nhimself says that these words had an Arabic sound. He was slightly", "\"More,\" said he, \"do you remember any of the burial-service?\"\n\nI understood his meaning at once.\n\n\"Yes,\" I said, \"some of it--a good deal of it, I think.\"" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"This other package must be the manuscript,\" said Oxenden, \"and it'll\ntell all about it.\"\n\n\"Such a manuscript'll be better than meat,\" said the doctor,\nsententiously.", "Melick made no further objection. He was as excited as the rest, and\nso he began the reading of the manuscript.\n\n\n\nCHAPTER II", "\"See through what?\" said the doctor, hastily, pricking up his ears\nat this, and peering keenly at Melick through his spectacles.\n\n\"Why, the manuscript, of course.\"", "Saying this, Featherstone took the manuscript and went on to read.\n\n\n\nCHAPTER XXVIII\n\nIN PRISON", "And now the doctor took up the manuscript and began to read.\n\n\n\nCHAPTER VIII\n\nTHE CAVE-DWELLERS", "On the following morning the calm still continued. None of the party\nrose until very late, and then over the breakfast-table they discussed\nthe manuscript once more, each from his own point of view, Melick", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "For some time nothing was said; they partook of the repast in silence;\nbut at length it became evident that they were thinking of the\nmysterious manuscript. Featherstone was the first to speak.", "Dinner was now announced, and Oxenden laid the manuscript aside;\nwhereupon they adjourned to the cabin, where they proceeded to discuss\nboth the repast and the manuscript.", "with great care, and saw writing there, which, though faded, was still\nlegible. It was a letter, and there were still signs of long and", "CHAPTER I\n\nTHE FINDING OF THE COPPER CYLINDER", "\"And now,\" said Featherstone, \"let's have some more of the manuscript.\nMelick is tired of it, I dare say. I would relieve him, but I'm an", "\"Never mind the Egyptian papyrus,\" said Featherstone, in feverish\ncuriosity. \"Let's have the contents of the manuscript. You, Melick,", "It was as follows:\n\n\n\"To the finder of this:", "\"A deuced queer sort of thing this, too,\" said he, \"this manuscript.\nI can't quite make it out. Who ever dreamed of people living at the", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "there is as to the authenticity of the manuscript. Now, in the first\nplace, there is the description of Desolation Island, which is\nperfectly accurate. But it is on his narrative beyond this that I lay", "South Pole--and in a warm climate, too? Then it seems deuced odd, too,\nthat we should pick up this copper cylinder with the manuscript. I\nhardly know what to think about it.\"" ], [ "As I make out, More's course led him over about ten degrees of\nlongitude in a southwest course. That course depended altogether upon\nthe ocean currents. Now there is a great antarctic drift-current,", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "\"Yes,\" replied the doctor. \"Wilkes pretends to have found a continent,\nbut his account of it makes it quite evident to my mind that he saw", "hundred, or two hundred. For my own part, however, I feel like\ntaking More's statements at their utmost value; and the idea that\nI have gathered from his narrative is that of a vast sea like the", "\"It is impossible to answer that question exactly,\" said the doctor.\n\"It may be, as More hints, a thousand miles in extent, or only five", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "\"Where are you?\" I cried, as I still rushed on.\n\n\"Fly, More, fly! Save yourself! You can't save me. I'm lost. Fly for\nyour life!\"", "by endless arguments, all of the most plausible kind. For my own part,\nI still believe More and his south polar world to be no more authentic\nthan Sindbad the Sailor.\"", "height, and he gave it the name of Mount Terror. Mark, now, how\nwonderfully this resembles More's account. Well, just here his\nprogress was arrested by a barrier which presented a perpendicular", "\"When I was a child I was shipwrecked, and was taken up a ship which\nconveyed me to a nation beyond the sea. There I grew up to manhood. I", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "\"Well,\" continued Oxenden, calmly resuming, and taking no notice of\nthese interruptions, \"I can give you word after word that More has", "and cultivate, not the hope of escape, but the hope full of\nimmortality. Yes, More, after all we shall live, if not in England,\nthen, let us hope, in heaven.\"", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "\"Yes,\" said she, \"if I could only tell you where to go; but I cannot.\nMy country lies somewhere over the sea, but where, I know not. Over\nthe sea there are many lands, and we might reach one even worse than\nthis.\"", "Perhaps she might yet regain her native land and rejoin her loved\nkindred, whom she would tell of the stranger from an unknown shore who\nhad loved her, and through whose death she had gained her life. Such" ], [ "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "benefiting others most directly. They refuse anything but the very\nsmallest pay, and insist on giving for this the utmost possible labor.\nTradesmen also have to supply the community with articles of all", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "as among us the poor try to rob the rich. Among the wealthy there is\na great and incessant murmur at the obstinacy of the paupers. Secret", "others. People thus spend years in trying to overreach one another, so\nas to make others richer than themselves. In a race each one tries to\nkeep behind; but as this leads to confusion, there is then a universal", "all the labors of the working-class to be ultimately turned upon the\nunfortunate wealthy class. The workmen being the creators of wealth,\nand refusing to take adequate pay, cause a final accumulation of the", "The paupers here form the most honorable class. Next to these are the\nlaborers. These have strikes as with us; but it is always for harder", "from all these the paupers are exempt. There is a perpetual effort on\nthe part of the wealthy to induce the paupers to accept gifts, just", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "envied by the others, and have many advantages. The cares and burdens\nof wealth, as well as wealth itself, are here considered a curse, and", "era begins for the Kosekin, in which every man may be as poor as he\nlikes, and riches shall be unknown in the land.\"", "Women and men are in every respect absolutely equal, holding precisely\nthe same offices and doing the same work. In general, however, it is", "Here among the Kosekin the wealthy class forms the mass of the people,\nwhile the aristocratic few consist of the paupers. These are greatly" ], [ "Cumberland, England, so that he may learn the fate of his son. The MS.\naccompanying this contains an account of my adventures, which I should", "\"I happen to know all about that voyage, for I read a full report of\nit just before we started, and you can see for yourselves whether this\nmanuscript is credible or not.", "\"Then he shouldn't have written the book.\"\n\n\"In that case how could his father have heard about his adventures?\"", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "about her plans. I described the athalebs, informed her about the\ndirection which we were to take, the island of fire, and the country\nof the Orin. At this intelligence Almah was filled with delight, and", "\"The whole story,\" said Melick, \"may have been written by one of\nRoss's men and thrown overboard. If I'd been on that expedition I\nshould probably have written it to beguile the time.\"", "known; so I began to talk of other things, and gradually the Kohen was\ndrawn to speak of his own life. The account which he gave of himself\nwas not one whit less strange than his previous remarks, and for this", "complied, or pretended to do so. In spite of this, however, we again\nfell behind, and I noticed that this always happened when the reins\nwere drawn tight. On making this discovery I suddenly seized both", "\"You are growing like one of us,\" said he. \"You will soon learn that\nthe greatest happiness in life is to do good to others and sacrifice", "Let us pause here for a moment to take a minuter survey of these four\nfriends. In the first place, there was Lord Featherstone himself,", "Our voyage occupied several joms; but our progress was continuous,\nfor different sets of rowers relieved one another at regular\nintervals. On the second jom a storm broke out. The sky had been", "through it. It sounds like one of the voyages of Sinbad the Sailor.\nNor do I like his description; he evidently is writing for effect.", "These words brought much consolation. After this we landed, and Almah\nand I were still together.\n\n\n\nCHAPTER XIX\n\nTHE WONDERS OF THE \"AMIR\"", "So we pushed off, and rowed as we had never rowed before. Our progress\nwas difficult. The sea grew steadily rougher; the wind increased; the", "have come, full of the most eager desire to relieve your wants. We\nhave brought with us food and drink, and are ready to do everything\nfor you that you may desire. We have had great trouble in finding you,", "me about my country, about the great world beyond the mountains, about\nthe way in which I had come here, about the manners and customs of my\ncountrymen. They were eager to know about those great nations of which", "Perhaps she might yet regain her native land and rejoin her loved\nkindred, whom she would tell of the stranger from an unknown shore who\nhad loved her, and through whose death she had gained her life. Such", "wealth, chiefly through the fortunate advent of Almah and afterward of\nyourself. This, I confess, has been my salvation. Neither of you had", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "Joms passed. We saw other sights; we met with galleys and saw many\nships about the sea. Some were moved by sails only; these were" ], [ "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "tried in vain to make out what might be the meaning of this union of\ngentleness and kindness with atrocious cruelty. Meanwhile, the men\nall went to work upon various tasks. Some secured lines about the", "My name is Adam More. I am the son of Henry More, apothecary, Keswick,", "one who had returned from some unpleasant task. It always took some\ntime for her to regain that cheerfulness which she usually showed. I\nsoon felt a deep curiosity to learn the nature of her employment and", "This was unintelligible, nor did I try to understand it. It was enough\nto hear this from her own sweet lips; but it was a strange feeling,\nand I think I am the only man since Adam that ever was married without\nknowing it.", "For some time nothing was said; they partook of the repast in silence;\nbut at length it became evident that they were thinking of the\nmysterious manuscript. Featherstone was the first to speak.", "watchful enough over my blessed estate of poverty. Surrounded as I was\nby those who were only too ready to take advantage of my ignorance or\nwant of vigilance, I soon fell into evil ways, and gradually, in spite", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "Let us pause here for a moment to take a minuter survey of these four\nfriends. In the first place, there was Lord Featherstone himself,", "\"I suppose not,\" said Almah; \"but you will understand better after you\nhave been here longer. At any rate, you can see for yourself that the", "\"I was born,\" said he, \"in the most enviable of positions. My father\nand mother were among the poorest in the land. Both died when I was a", "But I had no time for such speculations as these. After the first\nemotions of wonder and admiration had somewhat subsided, I began to", "arrangements. All were industrious and orderly, and each one seemed\nmost eager to assist his neighbor. Indeed, there seemed to be a\nfriendly rivalry in this which at times amounted to positive violence;", "Dinner was now announced, and Oxenden laid the manuscript aside;\nwhereupon they adjourned to the cabin, where they proceeded to discuss\nboth the repast and the manuscript.", "had become artisans laborers, and even paupers; but all were bound by\nhim to the strictest secrecy. If anyone should divulge the secret, it", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "imagine that they can find happiness in poverty, darkness, death, and\nunrequited love. The writer thus mocks at all our dearest passions and\nstrongest desires; and his general aim is to show that the mere search", "servant. He said something, whereupon Almah arose and beckoned to me\nto follow. I did so, and we went to a neighboring apartment, where" ], [ "\"When I was a child I was shipwrecked, and was taken up a ship which\nconveyed me to a nation beyond the sea. There I grew up to manhood. I", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "foundered; he has escaped in a boat, either alone or with others; he\nhas been carried along this channel, and has landed here, afraid to go\nany farther.\"", "shipwreck, that I had drifted here, and that I needed assistance. Of\nall this it was quite evident that they understood nothing except the\nfact that I needed help. The moment that they comprehended this they", "ship. Nothing could be seen of her. Far away on one side rose a peak,\nwhich looked like the place where we had landed. Judging from the", "So we pushed off, and rowed as we had never rowed before. Our progress\nwas difficult. The sea grew steadily rougher; the wind increased; the", "in deep misery. We had eaten nothing since we left the ship, but\nthough exhausted by long fasting and severe labor, the despair of our\nhearts took away all desire for food. We were worn out with hard work,", "\"Why, if it were thrown off the coast of England it would be carried\naway, in the ordinary course of things, and might make the tour of the\nworld.\"", "blackened and all withered, and the bony hands were clinched tight. It\nwas evidently some sailor who had suffered shipwreck in these", "\"Oh no,\" said I. \"Don't be hasty. The elements are sometimes kinder\nthan men, and I feel safer here, even in this river of death, than\nashore with such creatures as those.\"", "\"Yes,\" said she, \"if I could only tell you where to go; but I cannot.\nMy country lies somewhere over the sea, but where, I know not. Over\nthe sea there are many lands, and we might reach one even worse than\nthis.\"", "current that I had been carried into the open sea. As we crossed the\nestuary of this river I saw that the shores on either side were low,\nand covered with the rankest vegetation; giant trees of fern, vast", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "\"I wonder how he got here?\" said Agnew, at last. \"The letter mentions\na whaler. No doubt the ship has been driven too far south; it has", "Fortune had indeed dealt strangely with me. I had fled with Almah, and\nwith her had reached one desolate shore, and now I found myself with", "Layelah upon another shore, desolate also, but not a savage\nwilderness. This lonely island, ringed with the black ocean waters,", "Perhaps she might yet regain her native land and rejoin her loved\nkindred, whom she would tell of the stranger from an unknown shore who\nhad loved her, and through whose death she had gained her life. Such", "and to remain here any longer was impossible. We would once more have\nto mount the athaleb, and proceed to some other shore. But where?\nAh! there was the question! Not on the island, for it did not seem", "For two or three days the calm continued, and we drifted along\nhelplessly, until at length we found ourselves within a few miles of", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"" ], [ "on farther the darkness increased, until at last I lost sight of the\nchief altogether, and he had to come back and lead me. After going\na little farther we came to a long, broad passage-way like a", "I followed. He then led the way into the cavern, while I, full of\nwonder, walked behind him.", "gathering for the terrific descent, all other movements--all dashings\nand writhings and twistings--were obliterated and lost in the one\noverwhelming onward rush. Suddenly all grew dark--dark beyond all", "these. In that case there might be no sudden plunge, after all. The\nstream might run on for many thousand miles through this terrific\ncavern gloom, in accordance with natural laws; and I might thus live,", "themselves in the caverns. Then after a few steps we came to the base\nof a tall half-pyramid, the summit of which was above the tops of the", "around me grew dark. I was floating at the bottom of a vast chasm,\nwhere the sides seemed to rise precipitously for thousands of feet,\nwhere neither watery flood nor rocky wall was visible, and where, far", "I had not used here, and then we set forth. Leaving our apartments\nwe traversed the long passages, and at length came to the cavern of", "and overhead there rolled a dense black canopy of smoke--altogether\nforming a terrific approach to that unknown and awful pathway upon\nwhich we were going. So we passed this dread portal, and then there", "before, and I now entered through curiosity to see what it might be.\nI saw a vast cavern, quite as large as the cheder nebilin, full of", "which the others came in also and then the door was shut. At first I\ncould see nothing. There were no windows whatever, and only one or two\nslight crevices through which the light came. After a time my eyes", "Here we landed, and walked up to where rugged lava-blocks prevented\nany further progress. But at this spot our attention was suddenly\narrested by a sight of horror. It was a human figure lying prostrate,\nface downward.", "revealed all around. I saw a wide expanse of water, black as ink--a\nStygian pool; but no rocks were visible, and it seemed as though I\nhad been carried into a subterranean sea.", "perceive no end in that gloom. The twinkling lights served only to\ndisclose the darkness and to indicate the immensity of the cavern. In\nthe midst there arose two enormous columns, which were lost in the", "passages we came at length to the door of a cavern as gloomy as the\none I had left. On entering this I found all dark and drear; and a", "arose from these same volcanoes which had illuminated the northern sky\nwhen I was ashore, and followed me still with their glare. I had been\ncarried into this darkness, through some vast opening which now lay", "wall of over a hundred and fifty feet in height, along which he\ncoasted for some distance. On the following year he penetrated six", "I was taken along dark passages until I came to a cavern with a low,\ndark portal. Upon entering I found the darkness deeper than usual,", "\"Sir,--I am an Englishman, and have been carried by a series of\nincredible events to a land from which escape is as impossible as from", "before myself very easily all the scenes which he describes,\nparticularly that one in which the megalosaurus approaches, and he\nrushes to mount the dinoris so as to escape. I see that river, with", "After this nothing was left. There was no longer for me such a thing\nas sight; there was nothing but darkness--perpetual and eternal night.\nI was buried in a cavern of rushing waters, to which there would be no" ], [ "At length it was proposed to resume the reading of the manuscript,\nwhich task would now devolve upon Oxenden. They adjourned to the deck,\nwhere all disposed themselves in easy attitudes to listen to the\ncontinuation of More's narrative.", "\"ADAM MORE.\"\n\n\n\"By Jove!\" cried Featherstone, as he read the above, \"this is really\ngetting to be something tremendous.\"", "By this time they had reached the yacht and hurried aboard. All were\neager to satisfy their curiosity. Search was made for a cold-chisel,", "\"By Jove!\" cried Featherstone, \"this is getting exciting. Let's go\nback to the yacht and open it.\"\n\nThe men rowed back to the yacht.", "\"The whole story,\" said Melick, \"may have been written by one of\nRoss's men and thrown overboard. If I'd been on that expedition I\nshould probably have written it to beguile the time.\"", "farther south. All that is wanted is a favorable season. But mark the\ncoincidence between Ross's report and More's manuscript. This must\nhave been written at least three years ago, and the writer could not", "On the following morning the calm still continued. None of the party\nrose until very late, and then over the breakfast-table they discussed\nthe manuscript once more, each from his own point of view, Melick", "Dinner was now announced, and Oxenden laid the manuscript aside;\nwhereupon they adjourned to the cabin, where they proceeded to discuss\nboth the repast and the manuscript.", "Melick made no further objection. He was as excited as the rest, and\nso he began the reading of the manuscript.\n\n\n\nCHAPTER II", "The wind had failed, a deep calm had succeeded, and everywhere, as far\nas the eye could reach, the water was smooth and glassy. The yacht", "The others, always on the lookout for some new object of interest,\nwere attracted by these words, and looked closely at the thing in\nquestion. The men pulled. The boat drew nearer.", "\"More,\" said Oxenden, with deep impressiveness, \"was a simple-minded\nthough somewhat emotional sailor, and merely wrote in the hope that", "\"This other package must be the manuscript,\" said Oxenden, \"and it'll\ntell all about it.\"\n\n\"Such a manuscript'll be better than meat,\" said the doctor,\nsententiously.", "caused by the rise and fall of the yacht, and these affected the tiny\nboats. Gradually they drew apart, the green one drifting astern, the", "\"I happen to know all about that voyage, for I read a full report of\nit just before we started, and you can see for yourselves whether this\nmanuscript is credible or not.", "coast-line of six hundred miles. Observe, now how all this coincides\nwith More's narrative. Well, I now come to the crowning statement. In", "hundred, or two hundred. For my own part, however, I feel like\ntaking More's statements at their utmost value; and the idea that\nI have gathered from his narrative is that of a vast sea like the", "seated near the mainmast, folding some papers in a peculiar way. His\noccupation at length attracted the roving eyes of Featherstone, who", "asked for my name. I said \"Adam More.\" She repeated this, and it\nsounded like \"A-tam-or.\" But as she spoke this slowly her smile died", "foundered; he has escaped in a boat, either alone or with others; he\nhas been carried along this channel, and has landed here, afraid to go\nany farther.\"" ], [ "are directly the opposite of ours, and yet no nearer happiness than we\nare. It shows us a world where our evil is made a good, and our good\nan evil; there all that we consider a blessing is had in", "imagine that they can find happiness in poverty, darkness, death, and\nunrequited love. The writer thus mocks at all our dearest passions and\nstrongest desires; and his general aim is to show that the mere search", "the language of her people, and spoke of the punishments of the law as\nthough they were punishments in reality. Now, to me and to Almah these\nso-called punishments seemed rewards.", "thousand false and unnatural habits, arising from your strange native\ncustoms. You have been brought up under some frightful system, where\nnature is violated. Here among us your true humanity is unfolded, and", "\"That is strange,\" said I; \"but suppose the man does not love the\nwoman?\"\n\n\"Why, no woman wants to be loved; she only wants to love.\"\n\nAt this I felt somewhat bewildered.", "\"Thirdly, you are to have the blessing of darkness. You are to be\nremoved from this troublesome and vexatious light, which here is\nregarded as a curse, and henceforth live without it.", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "Layelah smiled. \"That sounds strange to the Kosekin,\" said she, \"for\nhere to give up your love and to die are both esteemed the greatest", "\"The very opposite. We are so made that we hate and fear death; to us\nhe is the King of Terrors. Poverty is terrible also, since it is", "It is evident that in More's world various epochs are represented, and\nthat animals of different ages are living side by side.\"", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "\"I was born,\" said he, \"in the most enviable of positions. My father\nand mother were among the poorest in the land. Both died when I was a", "thoughts. For I had fallen upon a world and among people which were\nall alien and unintelligible to me; and to live on would only open the", "\"You are a strange being, Atam-or,\" said he, gently. \"Sometimes I\nthink you mad. I can only say that such a request is horrible to me", "\"He is right,\" said Layelah--\"the heaven-born Atam-or. He shall be our\nteacher. The rich shall be esteemed, the poor shall be down-trodden;", "Almah shook her head. \"You do not understand these people,\" said she.\n\"Their ruling passion is the hatred of self, and therefore they are", "Alas! it must be so. Joy has turned your brain; you are quite\ndemented. You call good evil, and evil good; our light is your\ndarkness, and our darkness your light. Yet surely you cannot be", "showed me that the people of this strange land must be very different\nfrom those frightful savages on the other side of the mountains.\nEverywhere I beheld the manifest signs of cultivation and", "\"I suppose not,\" said Almah; \"but you will understand better after you\nhave been here longer. At any rate, you can see for yourself that the", "can be happy. This shall be better to us than the lands of the Orin,\nfor we shall be alone, and we shall be all in all to one another.\"" ], [ "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "envied by the others, and have many advantages. The cares and burdens\nof wealth, as well as wealth itself, are here considered a curse, and", "wealth, chiefly through the fortunate advent of Almah and afterward of\nyourself. This, I confess, has been my salvation. Neither of you had", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "\"The very opposite. We are so made that we hate and fear death; to us\nhe is the King of Terrors. Poverty is terrible also, since it is", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "to become what I once was. It is only too easy to grow rich; and, you\nknow, poverty once forfeited can never return except in rare\ninstances. I have, however, succeeded in getting rid of most of my", "seeing that they were rapidly dying out, concluded to depart to\nanother and a better world. One beauty of this theory is that it\ncannot possibly be disproved; another is that it satisfies all the", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "are directly the opposite of ours, and yet no nearer happiness than we\nare. It shows us a world where our evil is made a good, and our good\nan evil; there all that we consider a blessing is had in", "boldness, but was himself confounded by my words. I told him that in\nmy country self was the chief consideration, self-preservation the law\nof nature; death the King of Terrors; wealth the object of universal", "all the labors of the working-class to be ultimately turned upon the\nunfortunate wealthy class. The workmen being the creators of wealth,\nand refusing to take adequate pay, cause a final accumulation of the", "\"Don't think they've got much of the Jew about them,\" said\nFeatherstone, languidly. \"They hate riches and all that, you know.", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "watchful enough over my blessed estate of poverty. Surrounded as I was\nby those who were only too ready to take advantage of my ignorance or\nwant of vigilance, I soon fell into evil ways, and gradually, in spite", "\"Their peculiar eyes,\" said Oxenden, \"are no doubt produced by\ndwelling in caves for many generations.\"\n\n\"On the contrary,\" said the doctor, \"it is their peculiarity of eye\nthat makes them dwell in caves.\"", "I spoke, who loved light and life; about men who loved themselves\nbetter than others; of that world where men feared death and loved\nlife, and sought after riches and lived in the light.", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers." ], [ "The natives now all crowded around us, making many strange gestures,\nwhich we did not understand. Some of them bowed low, others prostrated", "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "Saying this I fired in the air. The report rang out with long echoes,\nand as the smoke swept away it showed us all the natives on the", "As we approached, the crowd of natives stood awaiting us, and looked\nmore repulsive than ever. We could see the emaciation of their bony", "Some spread out couches formed of the skins of birds for us to sit on;\nothers attended to the fire; others offered us gifts of large and\nbeautiful feathers, together with numerous trinkets of rare and", "or for fishing purposes. This thought made them seem less formidable,\nsince they would thus be instruments of food rather than weapons of\nwar. Meanwhile we drifted on as before, and the natives watched us,", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "ornaments. My refusal to accept their weapons created some surprise,\nbut with their usual civility they did not press their offers\nfurther. It was evident that this hunting expedition was only made in", "the lowest, and with them the chief post of honor is what we would\ncall the lowest menial office. Of course, among such a people, any\nsuffering from want is unknown, except when it is voluntary. The", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "We entered the cave. As we did so the natives heaped coal upon the\nfire, and the flames arose, lighting up the interior. We found here a", "wealth, chiefly through the fortunate advent of Almah and afterward of\nyourself. This, I confess, has been my salvation. Neither of you had", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "accepted it, and he himself fastened it around my shoulders. The\nothers seemed actually to envy the chief, as though he had gained some\nuncommon good-fortune. Then they offered me various drinks, of which", "material. There was a large table and seats. Taking me by the hand,\nthe chief led me to this, where I seated myself, while the others\nremained standing. Then some of them went away, and soon returned with" ], [ "We give up everything for life. A long life is everywhere considered\nas the highest blessing; and there is no one who is willing to die, no\nmatter what his suffering may be. Riches also are desired by all, for", "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "\"I cannot understand,\" said he. \"A madman might imagine that he loved\nlife and desired riches; but as to love, why even a madman could not", "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "\"But you love riches, do you not? and you must want them still?\"\n\n\"No,\" said Layelah, \"I do not want them now.\"\n\n\"Why, what do you want?\" I asked.", "the injurer; he gets him into his power, is able to confer benefits on\nhim and force upon him all that he wishes. The unhappy injurer, thus\npunished by the reception of wealth, finds himself helpless; and where", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "to become what I once was. It is only too easy to grow rich; and, you\nknow, poverty once forfeited can never return except in rare\ninstances. I have, however, succeeded in getting rid of most of my", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "would be ruin to him and to many others; for they would at once be\npunished by the bestowal of the extremest wealth, by degradation to", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "watchful enough over my blessed estate of poverty. Surrounded as I was\nby those who were only too ready to take advantage of my ignorance or\nwant of vigilance, I soon fell into evil ways, and gradually, in spite", "extraordinary indifference to wealth, and have made themselves paupers\nat your expense. I had already become your slave, and had received the", "that we must struggle against, of course, for it is against all law.\nThe greatest blessing must not be seized. It must be given by nature\nor man. Those who violate the blessed mystery of death are infamous.\"", "\"The very opposite. We are so made that we hate and fear death; to us\nhe is the King of Terrors. Poverty is terrible also, since it is", "\"I was born,\" said he, \"in the most enviable of positions. My father\nand mother were among the poorest in the land. Both died when I was a", "known, they would punish me by giving me new contributions of wealth\nand new offices and powers, which I do not want.\"" ], [ "\"Secondly, they have decreed the blessing of poverty. All these\nluxuries will be taken away, and you will be raised to an equality in\nthis respect with the great paupers.", "heart can wish, and inevitable death. To all classes and ranks in\nthe whole nation we promise to grant a diminution in their wealth by\none-quarter. In the abundance of our mercy we are willing ourselves to", "bear the burden of all the offerings that may be necessary in order to\naccomplish this. All in the land may at once give up one-quarter of\ntheir whole wealth to us.\"", "and the rich grumble, but can do nothing. The sick are thus sought out\nincessantly, and most carefully tended. When they die there is great", "been made Meleks and Kohens. Thus there are among the Kosekin the\nunfortunate many who are cursed with wealth, and the fortunate few who\nare blessed with poverty. These walk while the others ride, and from", "The purchasers are eager to pay as much as possible, and the merchants\nand traders grow rich in spite of their utmost endeavors. The wealthy", "known, they would punish me by giving me new contributions of wealth\nand new offices and powers, which I do not want.\"", "others. People thus spend years in trying to overreach one another, so\nas to make others richer than themselves. In a race each one tries to\nkeep behind; but as this leads to confusion, there is then a universal", "of myself, I found wealth pouring in upon me. Designing men succeeded\nin winning my consent to receive their possessions; and so I gradually\nfell away from that lofty position in which I was born. I grew richer", "era begins for the Kosekin, in which every man may be as poor as he\nlikes, and riches shall be unknown in the land.\"", "\"As rulers of Light and Darkness, we will henceforth govern the nation\nin the light as well as in the dark. We will sacrifice ourselves so", "celebrated with the most imposing sacrifices. Then the most honored\nin all the land are publicly presented with the blessing of death,\nand allowed to depart this hated life, and go to the realms of that", "wealth of the community in the hands of the mass of the non-producers,\nwho thus are fixed in their unhappy position, and can hope for no\nescape except by death. The farmers till the ground, the fishermen", "This, however, was soon explained. The laborers and artisans have to\nperform their daily work, so as to enable the community to live and\nmove and have its being. Their impelling motive is the high one of", "\"To all you hags and paupers we grant the splendid and unparalleled\nboon of exile to Magones. There you can have all the suffering which", "Overwhelmed thus with the cares of government, crushed under the\nweight of authority and autocratic rule, surrounded by countless\nslaves all ready to die for them, their lives would be embittered", "we take everything that is given us. You and I now possess as our own\nproperty all this city and all its buildings, and all the people have\nmade themselves our slaves.\"", "We give up everything for life. A long life is everywhere considered\nas the highest blessing; and there is no one who is willing to die, no\nmatter what his suffering may be. Riches also are desired by all, for", "These, however, I soon found out. Instead of robbers, the Kosekin\npunished the secret bestowers of their wealth on others. This is", "\"He is right,\" said Layelah--\"the heaven-born Atam-or. He shall be our\nteacher. The rich shall be esteemed, the poor shall be down-trodden;" ] ]

[ "WHO FINDS ADAM MORE'S COPPER CYLINDER?", "IN WHAT LANGUAGE WAS ADAM MORE'S MANUSCRIPT WRITTEN?", "HOW DOES ADAM MORE ARRIVE IN THE \"LOST WORLD\"?", "WHAT CONTINENT WAS THE LOST WORLD A PART OF?", "WHAT WAS ADAM MORE'S NATIONALITY?", "WHAT WAS ADAM MORE'S OCCUPATION?", "HOW DID THE RESIDENTS OF THE LOST WORLD VIEW WEALTH?", "WHAT HAPPENED TO WEALTH THAT WAS NOT GIVEN AWAY IN THE LOST WORLD?", "WHAT WAS THE REVERSE SYSTEM OF TAXATION IN THE LOST WORLD?", "What was Adam More's profession?", "What happened on his homeward voyage from Tasmania?", "What did he find after passing through the volcanic tunnel?", "How did this lost world exist despite the Antarctic cold?", "What does the copper cylinder have to do with the story?", "Who finds the copper cylinder with the manuscript?", "The natives of this lost world do what with any money they receive?", "What do the native appreciate over life and light in this lost world?", "What happens to any money the natives fail to give away?", "What happens to this money that the government takes?", "From where does Adam More's voyage originate?", "As the natural world we know is powered by the sun, how is the world discovered by Adam More powered?", "Kosekin is theorized to be descended from what language?", "In the society discovered by More, what happens to wealth not given away?", "How does Adam More access the volcanic society?", "What is Adam More's nationality?", "Who find's Adam more manuscript?", "What continent was Adam More shipwrecked on?", "How do individuals in the underground society handle their personal wealth?", "Whose adventures do we learn about?", "What does Adam do for work?", "Where is Adam shipwrecked?", "How does Adam enter the 'lost world'?", "How many yachtsmen find Adam More's manuscript?", "The strange world Adam finds has the reverse values of what society?", "How is wealth treated in the 'lost world'?", "What do the natives do when they receive wealth?", "What happens to any wealth that isn't given away?", "What does the government do at the start of each New Year with the wealth it has collected?" ]

[ [ "FOUR YACHTSMAN", "Four yachtsmen." ], [ "KOSEKIN", "Kosekin." ], [ " THROUGH A VOLCANIC SUBTERRANEAN TUNNEL", "Shipwrecked" ], [ "ANTARTICA", "Antarctica." ], [ "BRITISH", "British " ], [ "SAILOR", "Sailor" ], [ "WEALTH WAS SCORNED", "They hated it." ], [ "IT WAS CONFISCATED BY THE GOVERNMENT", "Confiscated by the government." ], [ "WEALTH WAS DISTRIBUTED TO ITS RESIDENTS", "Wealth is looked at as bad, and poverty as good" ], [ "A British sailor", "Sailor." ], [ "He shipwrecked", "He was shipwrecked. " ], [ "A lost world of prehistoric animals and people", "A lost world of prehistoric animals, plants and people" ], [ "The Volcanic heat kept the area alive", "The heat from a volcano" ], [ "A manuscript written by Adam More was sealed inside it", "Contains a manuscript written by Adam More." ], [ "Four Yachtsmen", "Four yachtsmen." ], [ "They give it away as fast as they can because poverty is revered", "They give it to the wealthy" ], [ "death and darkness", "Death and darkness" ], [ "The government takes it", "Taken by Government" ], [ "It is given out the next year as a form of punishment because wealth is scorned", "It is given back" ], [ "Tasmania", "Tasmania" ], [ "Volcanic heat", "Volcanic heat." ], [ "Hebrew", "Hebrew" ], [ "It is confiscated by the government and forced upon the citizens", "The government confiscates it" ], [ "Through underground tunnels after being shipwrecked", "He is shipwrecked and finds a tunnel" ], [ "British", "British." ], [ "Yachtsmen", "A group of yachtsmen" ], [ "Antartica", "Antarctica." ], [ "By getting rid of it as quickly as possible", "They give it away" ], [ "Adam More", "Adam More." ], [ "Sailor", "Sailor" ], [ "Tasmania", "A prehistoric, volcanic world" ], [ "Through a subterranean volcanic tunnel", "He passes through an underground tunnel." ], [ "Four", "4" ], [ "19th Century Western Society", "19th century western world" ], [ "It is scorned.", "Wealth is scorned." ], [ "They divest it as quickly as possible.", "Give it away" ], [ "The government confiscates it.", "Confiscated by the government." ], [ "Gives it to people in a form of reverse taxation.", "Give everyone money" ] ]

[ [ "\"I _was_ thinking that,\" Snow acknowledged.\n\n\"And there's the entrance opening up just where it ought to be----\"", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "had asked her husband to bring forth the \"pretties,\" and had spent half\nan hour showing them to Grief. His delight in them was genuine, as well\nas was his surprise that they had made so rich a haul.", "his life two of the greatest world powers. And now he's going aboard to\ntry and cadge Denby for a drink.\"", "beauties! Auction to-morrow, at ten sharp. Old Parlay's selling out, and\nthe buzzards are gathering--old Parlay who was a stronger man in his day", "\"With all his money, coming around like a rent collector,\" he chanted\nhis outrage, almost in an ecstasy of anger. \"He's loaded with money,", "He released his clutch on the rail, and would have fallen had Grief\nnot caught his arm. He seemed to undergo a transformation, to stiffen\nphysically, to thrust his chin forward aggressively, and to glint\nharshly in his eyes.", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "And through the curious company moved Parlay himself, cackling and\nsneering, the withered wreck of what had once been a tall and powerful", "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "In another shady corner of the big compound Cornelius was holding court.\nHe had been at it early, for when Grief arrived the case of Willie Smee", "\"There it is, right under our nose, and old Parlay is there with the\npearls.\"", "\"You'll have to help me out,\" Grief warned the others, as he began. \"Old\nParlay is a character. From what I've seen of him I believe he's partly", "\"Now fire ahead,\" Grief said, when he had got his guest into a shirt\nand a pair of duck trousers. \"What's this advertisement of yours? I'm\nlistening.\"", "His eyes dropped shut and the lower jaw threatened to drop, but he\nmastered the qualms of dissolution long enough to omit one final, loud,\nderisive cackle.\n\nAbove and below pandemonium broke out.", "He looked on, grinning like a shrewd little ape. His joy in the torment\nof the patient was natural, for the world he lived in was a world of", "Grief stared straight before him with lustreless eyes for a full minute,\nas if summoning some vision to his inner sight. Then the corners of his\neyes wrinkled and the ends of his yellow mustache lifted in a smile.", "As Wallenstein worked, he glanced through the window and saw Koho coming\nup the compound path. He was limping very rapidly, but when he came", "Now it is not good for man to drink alone, and Grief threw sharp\nscrutiny into his pass-ing glance. He saw a well-built young man of", "their way to throw work in his way. They've got to, and a dandy stunt it\nis for Narii. Now I owe nobody. What's the result? If I fell down in" ], [ "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "\"I'm afraid it is,\" Grief admitted. \"You see, and no offence, he's\nreally worth it. He spends his time wherever the trouble is. He is a", "\"With all his money, coming around like a rent collector,\" he chanted\nhis outrage, almost in an ecstasy of anger. \"He's loaded with money,", "Twist and dodge as he would, everywhere the ex-Chancellor of the\nExchequer was met or overtaken by the flying pig. He scuttled like a", "know.\" He fumbled in his coat pocket and drew forth an object that\nflashed in the faint light. \"They don't know the meaning of that. But I", "\"It's robbery, plain robbery,\" Deacon went on. \"You take my money and\nwon't give me action.\"", "\"'Tis a run on the bank you've precipitated,\" he said reproachfully to\nGrief.\n\n\"Here is the sack to put the coin money in,\" Ieremia urged.", "\"Hikihoho belongs to old Parlay,\" the supercargo answered. \"He's got a\nfortune in pearls, saved up for years and years, and he sent the word", "Very few pennies and shillings appeared, though Pankburn continually and\nanxiously inquired for them. Pennies were the one thing he seemed to", "scurvily yesterday. 'Sign,' he says, 'sign in full, at the bottom, and\ndate it,' And Jacobsen, the little rat, stood in with him. It was rank", "told me so himself last time we were drunk at Guvutu. Worth millions and\nmillions, and Shylocking me for what he wouldn't light his pipe with.\"", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "\"You see, he himself acknowledges it.\" Assured triumph was in Deasy's\nvoice and bearing. \"He knows of no difference. There is no difference.\n'Tis the very image of money. 'Tis money itself.\"", "\"You'll never leave it alive, except in double irons.\" Grief surveyed\nhis guest with an air of consideration. \"I've handled your kind before.", "\"What's this Narii chap got to do with it?\" was the Englishman's\nshort-tempered demand. And, turning to Grief, he said, \"What's all this\npearl nonsense? Begin at the beginning.\"", "\"The thing is clear,\" said Peter Gee, at a conference in Ieremia's\nhouse. \"Deasy has about gathered in all the coin. In the meantime he", "He released his clutch on the rail, and would have fallen had Grief\nnot caught his arm. He seemed to undergo a transformation, to stiffen\nphysically, to thrust his chin forward aggressively, and to glint\nharshly in his eyes.", "\"Of all men, Cornelius Deasy!\" he cried.\n\n\"If it ain't Grief himself, the old devil,\" was the return greeting, as\nthey shook hands.", "\"Go for'ard, Cornelius, and take a scrub first,\" he said. \"The boy will\nbring you a pair of dungarees and a shirt. And by the way, before you", "\"One thing more,\" Grief said. \"I can do even better. If you lose, two\nyears of your time are mine--naturally without wages. Nevertheless," ], [ "And high above the sounding surf, on a narrow shelf beside a ton of\ndynamite, David Grief planned his campaign, then rested his cheek on his\narm and slept.", "\"And this is your secret island that's had all the beaches talking for\nyears?\" Grief answered. \"Well, I know the formula now for finding it.\"\n\n\"How's that?\" Hall asked quickly.", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "Sick he did look, his lean face working nervously with the rage that\npossessed him. Grief lifted the book and set it aside. Beneath lay a\nwritten sheet of tablet paper.", "\"Land ho, skipper!\" the Tongan called down the companionway.\n\nGrief took a quick glance at the empty blank of the chart, whistled his\nsurprise, and sank back feebly in a chair.", "He stepped to the bookshelf, drew out the bulky \"South Pacific\nDirectory,\" and ran through its pages.", "Races\" was in his hands when Snow returned from further exploration of\nthe house.", "\"I'm glad the calm held,\" he said. \"It enabled me to get around to see\nyou. My supercargo dug up that little note of yours, and I brought it\nalong.\"", "Hermann went below and returned with a riding light, but the moment it\nwas lifted above the level of the cabin wall the wind blew it out. He\nhad better success with the binnacle lamp, which was lighted only after\nmany collective attempts.", "cruiser went home without the treasure. Johnny Black brought the three\nspikes to Peenoo-Peenee, and left them at German Oscar's, but how and\nwhere he found them he never told.\"", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "While he was being introduced to Deacon, McMurtrey dispatched a\nhouse-boy with the pants, and when Captain Donovan came in it was as a\nwhite man should--at least in Goboto.", "Donovan looked at his watch, yawned, and also arose.", "\"On board the ketch Willi-Waw, Bombi Bight, Island of Anna, Solomon\nIslands,\" he read. \"Know all men by these presents that I do hereby sign", "\"It's land all right,\" the mate called down a minute afterward. \"You can\nsee it from the deck--tops of cocoanuts--an atoll of some sort. Maybe\nit's Leu-Leu after all.\"", "So it was that Brown, thrilling with all the romance and adventure he\nhad read and guessed and never lived, took his place in the sternsheets", "and all the ammunition, but they got the boat. Thus they learned of your\ncoming. Brown is now on this side of the Big Rock with the guns and the\nammunition.\"", "\"Captain Donovan here sails at daylight in the _Gunga_ for Karo-Karo,\"\nGrief began with seeming irrelevance. \"Karo-Karo is a ring of sand in", "\"Read it,\" Griffiths commanded. \"Read it aloud.\"\n\nGrief obeyed; but while he read, the fingers of his left hand began an\ninfinitely slow and patient crawl toward the butt of the weapon under\nthe pillow.", "\"Then I'll teach him double solitaire.\" Deacon turned toward the door,\nwhere Captain Donovan waited, and added with a sigh, \"And I fancy he'll\nskin me, too, if he plays like the rest of you island men.\"" ], [ "flew out, but he won safely across. Grief followed, and so near did\none bullet come that the dust of its impact stung his cheek. Nor was", "to and flying distress signals. The captain had died the day\nbefore--blackwater fever.\"", "Captain Boig was similarly injured. Peter Gee had come off undamaged,\nbecause it chanced that it was bread-baskets and not jaws that struck\nhim on the fists.", "Cornelius nodded to several of the soldiers, who led the supercargo away\nbehind an avocado tree. A minute later he emerged, minus the garment in\nquestion, and sat down beside Grief.", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "\"Mr. Carlsen, you will see that Mr. Pankburn remains on board.\"\n\n\"I'll have you broken for this!\" Aloysius screamed. \"You can't stop me.\"", "\"Steady she is!\" Jacobsen turned the wheel over to the savage. \"You\nsteer good fella, savve?\" he warned. \"No good fella, I knock your damn\nblack head off.\"", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "\"As romantic as Pilsach,\" Grief laughed, \"and that is going some. How\nlong ago was it, Captain, that he jumped you?\"\n\n\"Eleven years,\" Captain Glass grunted resentfully.", "His voice faded away in a weak stutter as he collapsed down into the\ncabin and his employer took charge. The _Rattler_ was just entering the", "Captain Warfield groaned, and all eyes drew to him. He was looking\nthrough the glasses down the length of the lagoon to the southeast.\n\n\"There she comes,\" he said quietly.", "eyes at the blank wall of darkness through which they were flying, their\nears tense for the sound of surf on the invisible shore. It was by this\nsound that they were for the moment steering.", "For the last time in his life the supercargo of the _Wonder_ perpetrated\na practical joke on a native. He was in the main cabin, checking off the", "Old One-Eye, as befitted a chief and leader, paddled out alone, facing\nperil for the rest of the tribe. As Carlsen leaned over the rail to help\nthe visitor up, he turned his head and remarked casually:", "\"It's all right, boys,\" Grief said quietly. \"Put down your guns and\nover the side with you. Mr. Albright, toss the tobacco to that one-eyed\nbrute.\"", "In the late afternoon of the second day Grief ordered a whaleboat into\nthe water. He took his place in the bow, a live cigarette in his mouth", "of this that Pilsach was killed. Him the chief of the two chief men, the\nBig Devil, shot once in his whaleboat, and twice when he tried to crawl", "instructions to them as they passed slowly beneath. By Grief's side\nlay several bundles of dynamite sticks, well-lashed together and with\nextremely short fuses.", "Both men were on their feet and gazing at the canoe. Aft could be seen\nthe unmistakable sombrero of a white man. Quick alarm showed itself on\nthe face of the mate.", "Everything was happening in seconds. There was apparently no pause in\nhis actions as he gathered Griffiths in his arms and carried him up the" ], [ "\"Two cable lengths wide, marked on the north by three separated\ncocoanuts, and on the south by pandanus trees. Eight miles in diameter,\na perfect circle, with an island in the dead centre.\"", "In the end, a wedge-shaped segment of jungle was cleared. Near to the\nbeach remained one long palm. At the apex of the wedge stood another.", "For the rest of the day, on the greater heights, they lay in a lava glen\nwhere terraced taro and _papaia_ grew. And here Grief made his plans and\nlearned the fulness of the situation.", "even stump was left. Here and there, farther along, stood an occasional\npalm, and there were numbers which had been snapped off above the\nground. In the crown of one surviving palm Tai-Hotauri asserted he saw", "At the end of another hour they swam under the frowning loom of the Big\nRock. Mauriri, feeling his way, led the landing in a crevice, up which\nfor a hundred feet they climbed to a narrow ledge.", "of hundreds of feet. And to complete the magic of the place, the warm,\nmoist air was heavy with the perfume of the yellow-blossomed _cassi_.", "around the woman's waist. Aloysius Pankburn looked on and cried.", "blossoms in their hair, youths and maidens were dancing. Farther on,\nGrief passed the long, grass-built _himine_ house, where a few score", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "The harbour of Fuatino opened before him. It was a circular sheet of\nwater, five miles in diameter, rimmed with white coral beaches, from", "Every here and there were grass houses. Voices and laughter rippled\nthrough the darkness. Out on the water flickering lights and soft-voiced\nchoruses marked the fishers returning from the reef.", "Hidden bowls glowed, and the room was filled with diffused golden light.\nMany shelves of books lined the walls. Grief fell to running over", "In the centre of the lagoon, as they emerged from the passage, they\nopened a small, densely wooded island, among the trees of which a large\nDutch windmill showed plainly.", "Followed a golden week. From dawn till dark a row of canoes rested\non their paddles two hundred feet away. This was the deadline. Rapa", "\"Forget not the pig,\" Grief whispered to Ieremia, who immediately stood\nup.\n\nWith a sweeping gesture he stilled the babel of voices that was\nbeginning to rise.", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "followed. On the edge of the river bank they came upon him. He still sat\non his horse, very white-faced, and gazed at something on the ground. It", "\"On the bottom?\"\n\n\"No. The bottom is as far below as the mountains are above. Fifty feet\ndown it flows. Swim down until you feel its coolness.\"", "Because the wind blew lengthwise along the atoll, the house had been\nsheltered by the miles of cocoanut trees. But the big seas, breaking", "On his way back along the Broom Road, under the lighted lamps that\nmarked the entrance to the palace grounds, Grief encountered a short," ], [ "Hidden bowls glowed, and the room was filled with diffused golden light.\nMany shelves of books lined the walls. Grief fell to running over", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "For the rest of the day, on the greater heights, they lay in a lava glen\nwhere terraced taro and _papaia_ grew. And here Grief made his plans and\nlearned the fulness of the situation.", "Sick he did look, his lean face working nervously with the rage that\npossessed him. Grief lifted the book and set it aside. Beneath lay a\nwritten sheet of tablet paper.", "Ieremia looked gravely over the rims of his glasses when his employer\nentered, gravely marked the place in the Bible and set it aside, and\ngravely shook hands.", "along the veranda and entered the room his gait was slow and dignified.\nHe sat down and watched the gun-cleaning, Though mouth and lips and", "\"Two cable lengths wide, marked on the north by three separated\ncocoanuts, and on the south by pandanus trees. Eight miles in diameter,\na perfect circle, with an island in the dead centre.\"", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "In answer, another rumbling crash shook the atoll and the house. Almost\nin a panic the company started for the door. In the dim light their", "At the beginning of the reading Deacon's face had gone white with anger.\nThen had arisen, from neck to forehead, a slow and terrible flush that\ndeepened to the end of the reading.", "Ieremia did not reply immediately. Reaching under the rear corner of the\nmats, he drew forth a large cash-box. Grief noted and wondered that", "is kept, of which I have been made keeper. I saw you come up to the\nentrance and run back into darkness. I knew you waited till morning, and", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "instructions to them as they passed slowly beneath. By Grief's side\nlay several bundles of dynamite sticks, well-lashed together and with\nextremely short fuses.", "Cornelius nodded to several of the soldiers, who led the supercargo away\nbehind an avocado tree. A minute later he emerged, minus the garment in\nquestion, and sat down beside Grief.", "Barracks and boat-houses, grass-thatched and like tinder, were wrapped\nin flames. Grief emerged from the kitchen, carrying a naked black child\nby the leg. Its head was missing.", "Grief stared straight before him with lustreless eyes for a full minute,\nas if summoning some vision to his inner sight. Then the corners of his\neyes wrinkled and the ends of his yellow mustache lifted in a smile.", "permitted inside. Cornelius Deasy, as befitted a high and favoured\nofficial, sat near to the right hand of the king. On the left of the", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "that he worked in darkness, save for the glow from endless cigars which\nhe went into the cabin to light. Even-tempered as he was, he soon began" ], [ "As the golden tint burned into his face it poured molten out of the ends\nof his fingers. His was the golden touch, but he played the game, not", "for the gold, but for the game's sake. It was a man's game, the rough\ncontacts and fierce give and take of the adventurers of his own blood", "desire, and he made his eyes flash covetously whenever one was produced.\nTrue to his theory, the savages concluded that the gold, being of slight", "\"Very well,\" he agreed. \"I shall give you the coin money now. How much?\"\n\n\"And we will see the system work,\" the king proclaimed, partaking in his\nChancellor's triumph.", "By the end of the week the trade went slack. There was only the\nslightest dribble of gold. An occasional penny was reluctantly disposed\nof for ten sticks, while several thousand dollars in silver came in.", "Followed a golden week. From dawn till dark a row of canoes rested\non their paddles two hundred feet away. This was the deadline. Rapa", "Conviction sat on the faces of all. The king clapped his hands\nadmiringly and murmured, \"It is most clear, very clear.\"", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "Everything was happening in seconds. There was apparently no pause in\nhis actions as he gathered Griffiths in his arms and carried him up the", "\"But it is well known to all the _Papalangi_ that the English Government\nwill pay coin money for the paper.\"\n\nDeasy's victory was now absolute. He held aloft a Fitu-Ivan note.", "Grief nodded, the fourth game began, and Deacon won. The manifest\nunfairness of such betting was known to all of them. Though he had lost", "Both men were grappled together as they went down; but Grief, with\na quick updraw of his knees to the other's chest, broke the grip and", "He swelled his biceps proudly under the thin sleeve, reached for the two\nblack stewards, and put them above his head like a pair of dumbbells.", "\"And a-half-west!\" came the answer. \"Right on it!\"\n\n\"Steady! That'll do!\"", "The pearl-buyer pulled the pegs out of the cribbage board on which he\nwas scoring and sat back. He had won the third game. He glanced across\nto Eddy Little, saying:", "\"You see, he himself acknowledges it.\" Assured triumph was in Deasy's\nvoice and bearing. \"He knows of no difference. There is no difference.\n'Tis the very image of money. 'Tis money itself.\"", "Captain Boig was similarly injured. Peter Gee had come off undamaged,\nbecause it chanced that it was bread-baskets and not jaws that struck\nhim on the fists.", "He released his clutch on the rail, and would have fallen had Grief\nnot caught his arm. He seemed to undergo a transformation, to stiffen\nphysically, to thrust his chin forward aggressively, and to glint\nharshly in his eyes.", "\"It takes three games to make a rubber. It's my deal. Come on!\"\n\nPeter Gee acquiesced, and the third game was on.", "As the chase died away down the Broom Road, Grief led the traders to the\nroyal treasury, and the day was well over ere the last Fitu-Ivan bank\nnote had been redeemed with coin." ], [ "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "started--and where they finished. Not a stone stands on another at the\nlanding pier. The houses are black ashes. Every tree is hacked down, and", "In answer, another rumbling crash shook the atoll and the house. Almost\nin a panic the company started for the door. In the dim light their", "His eyes dropped shut and the lower jaw threatened to drop, but he\nmastered the qualms of dissolution long enough to omit one final, loud,\nderisive cackle.\n\nAbove and below pandemonium broke out.", "the Big House. All was desolation and disarray. There were no\nflower-crowned men and maidens, no brown babies rolling in the shade of", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "even stump was left. Here and there, farther along, stood an occasional\npalm, and there were numbers which had been snapped off above the\nground. In the crown of one surviving palm Tai-Hotauri asserted he saw", "The wreck of the shed was now flung up and left on the sand-crest, A\nthird wave buffeted it into fragments which washed down the slope toward\nthe lagoon.", "Barracks and boat-houses, grass-thatched and like tinder, were wrapped\nin flames. Grief emerged from the kitchen, carrying a naked black child\nby the leg. Its head was missing.", "They could see the grass-thatched shed lift and collapse, while a froth\nof foam cleared the crest of the sand and ran down to the lagoon.", "At the beginning of the reading Deacon's face had gone white with anger.\nThen had arisen, from neck to forehead, a slow and terrible flush that\ndeepened to the end of the reading.", "In the end, a wedge-shaped segment of jungle was cleared. Near to the\nbeach remained one long palm. At the apex of the wedge stood another.", "\"Forget not the pig,\" Grief whispered to Ieremia, who immediately stood\nup.\n\nWith a sweeping gesture he stilled the babel of voices that was\nbeginning to rise.", "Ashore, where Parlay's house had been, was no vestige of any house. For\nthe space of three hundred yards, where the sea had breached, no tree or", "For the rest of the day, on the greater heights, they lay in a lava glen\nwhere terraced taro and _papaia_ grew. And here Grief made his plans and\nlearned the fulness of the situation.", "Mulhall touched one and then another and pointed to the shore. The\ngrass-sheds had disappeared, and Parlay's house rocked drunkenly,", "As the chase died away down the Broom Road, Grief led the traders to the\nroyal treasury, and the day was well over ere the last Fitu-Ivan bank\nnote had been redeemed with coin.", "When I declined to sell, this Feathers of the Sun fined me once more and\npromised to burn the store if again I offended. So I sold all that was", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "Sick he did look, his lean face working nervously with the rage that\npossessed him. Grief lifted the book and set it aside. Beneath lay a\nwritten sheet of tablet paper." ], [ "Pankburn took charge of the trading. For the penny in One-Eye's nose he\ngave ten sticks of tobacco. Since each stick cost David Grief a cent,", "of the village when I rushed it. And if you'll relieve me of the heads,\nI'll be well obliged.\" He paused and sighed. \"I suppose they'll have", "Grief finished the document and read over what he had written:\n\n To Swithin Hall,\n for pearls taken from his lagoon (estimated) $100,000", "a hundred quid apiece. Better have another drink. You're looking a bit\npale---- There, put that down you, and if you'll take my advice, Mr.", "He bought out the old blind leper at the market, and sold breadfruit,\nplantains, and sweet potatoes at such cut-rates that the gendarmes", "The shame of what he had done must have tingled in Deacon, for he\nanswered, \"No, we'll play for a thousand. And say! Thirty-one points is", "The more he refused, the more One-Eye insisted on a trade. At last, with\nan appearance of irritation and anger, and as a palpable concession,", "was that established by Pankburn with One-Eye. Five sovereigns fetched\na stick of tobacco; a hundred sovereigns, twenty sticks. Thus, a", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "\"For what?\"\n\n\"Do you think dead pigs grow on trees? The sum of ten shillings for that\npig is entered in the accounts.\"", "\"Hundred up--five pounds a game?\"\n\nPeter Gee agreed.\n\n\"With the lurch double, of course, ten pounds?\"\n\n\"All right,\" said Peter Gee.", "\"What ought they to be worth?\"\n\n\"Fifty or sixty thousand pounds--and that's to us buyers. In\nParis----\" He shrugged his shoulders and lifted his eyebrows at the\nincommunicableness of the sum.", "\"Only a rubber,\" he said, as he cut for deal.\n\n\"For how much?\" Deacon asked.\n\nPeter Gee shrugged his shoulders. \"As you please.\"", "\"I'm afraid it is,\" Grief admitted. \"You see, and no offence, he's\nreally worth it. He spends his time wherever the trouble is. He is a", "Very few pennies and shillings appeared, though Pankburn continually and\nanxiously inquired for them. Pennies were the one thing he seemed to", "pay over to you fifteen thousand and give you a passage. Don't move your\nhands from your lap.\" Grief stood up, went over to him, and took his", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "\"You don't, eh? Well, then, I'll tell you what we'll do. We'll play for\nfive hundred pounds a game.\"\n\nAgain Deacon was taken aback.", "\"Two hours to get the sweat,\" he chattered with a ghastly grin. \"And a\ncouple more and I'll be all right. I know the damned thing to the last", "\"And at what do you figure your working expenses?\" Grief went on. \"Your\ntime, and your two men's, and the divers'?\"\n\n\"Five thousand would cover it.\"" ], [ "regular funerals over them and put them in the ground. But in my way of\nthinking they'd make excellent curios. Any respectable museum would pay", "\"And that's the curse of it,\" Aloysius lamented. \"I really believe I\nwon't want to. I see the point. But I'm going to go right on and shape\nmyself up just the same.\"", "Grief stared straight before him with lustreless eyes for a full minute,\nas if summoning some vision to his inner sight. Then the corners of his\neyes wrinkled and the ends of his yellow mustache lifted in a smile.", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "Something doing, or my nose is a liar. The lagoon is carpeted with\nshell. They're rotting the meat out not a thousand miles away. Get that\nwhiff?\"", "\"The lagoon is virgin,\" Hall explained. \"You saw yourself that most\nof the shell is large and old. But it's funny that we got most of the", "\"I never fancied there were so many pearls in the world,\" Mulhall said.\n\n\"Nor have I ever seen so many together at one time,\" Peter Gee admitted.", "\"I'm afraid it is,\" Grief admitted. \"You see, and no offence, he's\nreally worth it. He spends his time wherever the trouble is. He is a", "\"Enamelled bath-tub, separate room for a shower, and a sitz-bath!\" he\nexclaimed. \"Fitted up for a king! And I reckon some of my money went to", "\"I'd hate to lose that new engine before it paid for itself,\" Captain\nWarfield replied gloomily.\n\nParlay skipped with astonishing nimbleness across the crowded room to\nthe barometer on the wall.", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "\"Take a look, my brave sailormen!\" he cried exultantly.\n\nThe man nearest read the glass. The sobering effect showed plainly on\nhis face.", "\"Yes, yes,\" Parlay was cackling. \"Many dead men lie on the table\nthere. I know those pearls, all of them. You see those three! Perfectly", "He wrote steadily and rapidly for some minutes, then proceeded to read\nthe matter aloud:\n\n\"_I must always remember that one man is as good as another, save and\nexcept when he thinks he is better._", "had asked her husband to bring forth the \"pretties,\" and had spent half\nan hour showing them to Grief. His delight in them was genuine, as well\nas was his surprise that they had made so rich a haul.", "\"With all his money, coming around like a rent collector,\" he chanted\nhis outrage, almost in an ecstasy of anger. \"He's loaded with money,", "\"There it is, right under our nose, and old Parlay is there with the\npearls.\"", "He looked on, grinning like a shrewd little ape. His joy in the torment\nof the patient was natural, for the world he lived in was a world of", "Grief, too, departed, through a door that led out of the opposite end\nof the living-room. He found himself in a self-evident woman's bedroom.", "\"You see, he himself acknowledges it.\" Assured triumph was in Deasy's\nvoice and bearing. \"He knows of no difference. There is no difference.\n'Tis the very image of money. 'Tis money itself.\"" ], [ "So it was that Brown, thrilling with all the romance and adventure he\nhad read and guessed and never lived, took his place in the sternsheets", "along the sand. He grinned at the very evident haste of the captains and\nbuyers. With him were three of his Kanakas, and also Tai-Hotauri.", "standing guard over the divers, had shown fight. Matters did not reach\nthe shooting stage, but it was only after it had been demonstrated to\nhim that the game was up that he consented to join his companions on", "The defects of the position on the Big Rock were vital. There was\nneither food nor water. For several nights, accompanied by one of the", "A minute later the anchor rumbled down. The whaleboat, already hoisted\nout, lay alongside, and the shore-going party dropped into it. Save for", "In the late afternoon of the second day Grief ordered a whaleboat into\nthe water. He took his place in the bow, a live cigarette in his mouth", "The others nodded, and Captain Warfield said: \"I was in the _Magpie_\nthat blow, and we went ashore, all hands and the cook, _Magpie_ and all,", "\"Me go along,\" he said. \"You sing out one fella boat stop along me.\"\n\n\n\n\nIV", "\"By George!\" Grief said to Snow, after the Tongan had gone back to his\nbunk. \"I smell something more than shell. Those three men are standing", "On the beach a curious scene took place. Whaleboat after whaleboat was\nbeing hurriedly manned and shoved off. It had grown still darker. The", "Hermann and several Kanakas were crawling for'ard on hands and knees to\nlet go the third anchor. Grief touched Captain Warfield and pointed to", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "Again he went for'ard and joined the other, and again the cloud-scud\nthickened, the star-glimmer vanished, and the wind rose and screamed in\nanother squall.", "Captain Boig was similarly injured. Peter Gee had come off undamaged,\nbecause it chanced that it was bread-baskets and not jaws that struck\nhim on the fists.", "For the last time in his life the supercargo of the _Wonder_ perpetrated\na practical joke on a native. He was in the main cabin, checking off the", "Old One-Eye, as befitted a chief and leader, paddled out alone, facing\nperil for the rest of the tribe. As Carlsen leaned over the rail to help\nthe visitor up, he turned his head and remarked casually:", "And through the curious company moved Parlay himself, cackling and\nsneering, the withered wreck of what had once been a tall and powerful", "\"Bring some axes and bush-knives,\" he said. \"And, oh, by the way, a\ncouple of bright lanterns. See they've got oil in them.\"\n\n\n\n\nV", "Mulhall, an Englishman, were still in pajamas, their naked feet thrust\ninto Chinese slippers. The captain and mate were in thin undershirts and", "On this night things were, with one exception, in nowise different from\nany other night. Seven of them, with glimmering eyes and steady legs," ], [ "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "\"Pretty close to it. And now about this present scrape, Mr. Hall. I can\nput up a nasty fight. What are you going to do about it?\"", "\"Who's playing this game?\" Deacon flamed at his host; and then, to\nGrief: \"I've lost two thousand to you. Will you play for two thousand?\"", "\"I'll play you ten quid a game--thirty-one points out,\" was the\nchallenge to Peter Gee. \"And I'll show you how little you know about\ncards. Come on! Where's a full deck?\"", "\"Come on and be game,\" Deacon bullied. \"One more. You can't take my\nmoney that way. I'm out fifteen pounds. Double or quits.\"", "The chorus of incredulous laughter incensed the old man. He turned\nfiercely on Darling.", "themselves on the battling canvas. The mate, finding one skulking in the\ndarkness, flung his bunched knuckles into the creature's face and drove\nhim to his work.", "\"You don't, eh? Well, then, I'll tell you what we'll do. We'll play for\nfive hundred pounds a game.\"\n\nAgain Deacon was taken aback.", "\"I know what you're thinking,\" Grief said to his mate.\n\nSnow, who had been muttering and shaking his head, looked up with quick\nand challenging incredulity.", "\"Jacobsen,\" he said, \"will you open the cash-box and pay this--this\nbloodsucker--twelve hundred pounds?\"", "The shame of what he had done must have tingled in Deacon, for he\nanswered, \"No, we'll play for a thousand. And say! Thirty-one points is", "He released his clutch on the rail, and would have fallen had Grief\nnot caught his arm. He seemed to undergo a transformation, to stiffen\nphysically, to thrust his chin forward aggressively, and to glint\nharshly in his eyes.", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "And through the curious company moved Parlay himself, cackling and\nsneering, the withered wreck of what had once been a tall and powerful", "\"I certainly do.\" Grief paused and laughed with genuine mirth. \"It's my\nfirm conviction that Griffiths is a rogue, and that he treated me quite", "\"Well, he's answered you,\" McMurtrey laughed genially. \"And I'll back\nhis bet myself for a couple of sovereigns.\"", "Scotch glasses. Grief took no notice of his opponent's outbursts, but\nconcentrated on the game. He was really playing cards, and there were", "\"You'll have to help me out,\" Grief warned the others, as he began. \"Old\nParlay is a character. From what I've seen of him I believe he's partly", "\"What's your haste?\" Parlay chuckled and girded at his departing guests.\n\"A last drink, brave gentlemen.\" No one noticed him. As they took the", "The little Scotchman shook his head. \"There was nothing to settle. It\nall depends how you look at it. The other way would be to say it was\nsettled, entirely settled, mind you, before I got there.\"" ], [ "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "lead. They've found the treasure, and we've got to trade them out of it.\nGet the whole crew aside and lecture them that they are to be interested", "for the gold, but for the game's sake. It was a man's game, the rough\ncontacts and fierce give and take of the adventurers of his own blood", "WANTED--To exchange a half interest in buried treasure,\n worth five million francs, for transportation for one to an\n unknown island in the Pacific and facilities for carrying", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "porcupine. Around his neck and hanging down on his dirty chest was a\nstring of gold sovereigns. His ears were hung with silver half-crowns,", "scupper. Van Asveld saw it and hesitated, then he and the girl ran aft\nfor their lives. The Goat Man fired, but splintered the corner of the", "Twist and dodge as he would, everywhere the ex-Chancellor of the\nExchequer was met or overtaken by the flying pig. He scuttled like a", "\"Old Parlay arrived after that with his pearls. There was one single one\nof them, they say, worth sixty thousand francs. Peter Gee saw it, and", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "As the golden tint burned into his face it poured molten out of the ends\nof his fingers. His was the golden touch, but he played the game, not", "\"One thing more,\" Grief said. \"I can do even better. If you lose, two\nyears of your time are mine--naturally without wages. Nevertheless,", "\"I'm afraid it is,\" Grief admitted. \"You see, and no offence, he's\nreally worth it. He spends his time wherever the trouble is. He is a", "the very point, and they must follow him closely. Paper money was an\nearmark of higher civilization. That was why he, the Feathers of the\nSun, had introduced it. And that was why the traders opposed it. They", "salted down the government treasure chest, something like a million\ndollars gold, but all in English coinage, and put it on board the", "desire, and he made his eyes flash covetously whenever one was produced.\nTrue to his theory, the savages concluded that the gold, being of slight", "\"He's knocking out the shackles!\" Grief shouted. \"Going to chance the\npassage! Got to! Anchors skating!\"", "\"I guess he's headed for the bush,\" Worth said, springing astride his\nhorse and starting. \"Oliver is down there by the river. Hope he didn't\nget _him_.\"", "Races\" was in his hands when Snow returned from further exploration of\nthe house.", "Britain, Germany, and the United States discovered its desirableness\nsimultaneously. It was like gamins scrambling for a penny. They got" ], [ "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "And you can guess the end.\" He shrugged his shoulders. \"There was a\nJapanese servant in the bungalow. He saw it. Said she did it with the", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "Mulhall saw him first, and drew Grief's attention. It was Narii Herring,\ncrouching and holding on where the dim binnacle light shone upon him. He", "\"That's more than we accomplished with our cruisers. Neither the German\nnor the English ever laid eyes on him. You were the first.\"\n\n\"No; McTavish was the first,\" Grief disclaimed.", "\"Read it,\" Griffiths commanded. \"Read it aloud.\"\n\nGrief obeyed; but while he read, the fingers of his left hand began an\ninfinitely slow and patient crawl toward the butt of the weapon under\nthe pillow.", "\"By George!\" Grief said to Snow, after the Tongan had gone back to his\nbunk. \"I smell something more than shell. Those three men are standing", "Along the beach they saw a man walking. He moved casually, as if out\nfor a morning stroll. Captain Warfield gritted his teeth. It was Narii\nHerring.", "\"And this is where I come in with the missing details,\" he said. \"Johnny\nBlack did tell. He told my father. Wrote him from Levuka, before he came", "with it. We've got to begin all over again. Mr. Albright! You know that\npile of old chain on the beach at the boat-landing. Find the owner, buy", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "VI\n\nThe next day Grief's suspicions found further food. Ashore early,\nhe strolled across the little island to the barracks occupied by the\ndivers.", "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "followed. On the edge of the river bank they came upon him. He still sat\non his horse, very white-faced, and gazed at something on the ground. It", "dawned on him that a trick had been played, and into his eyes came an\nexpression of hatred and malignancy so primitive, so abysmal, that it", "know.\" He fumbled in his coat pocket and drew forth an object that\nflashed in the faint light. \"They don't know the meaning of that. But I", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "\"What's this Narii chap got to do with it?\" was the Englishman's\nshort-tempered demand. And, turning to Grief, he said, \"What's all this\npearl nonsense? Begin at the beginning.\"", "Cornelius nodded to several of the soldiers, who led the supercargo away\nbehind an avocado tree. A minute later he emerged, minus the garment in\nquestion, and sat down beside Grief.", "Sick he did look, his lean face working nervously with the rage that\npossessed him. Grief lifted the book and set it aside. Beneath lay a\nwritten sheet of tablet paper." ], [ "\"Mr. Carlsen, you will see that Mr. Pankburn remains on board.\"\n\n\"I'll have you broken for this!\" Aloysius screamed. \"You can't stop me.\"", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "Twist and dodge as he would, everywhere the ex-Chancellor of the\nExchequer was met or overtaken by the flying pig. He scuttled like a", "Who else than David Grief can it be? Captain Donovan is skipper of the\n_Gunga_, and him I know too well to believe that he'd run in to Goboto", "\"Anstey--Phil Anstey,\" Grief answered promptly. \"Bound on the _Uncle\nToby_ from the Gilberts to New Guinea, and trying to find my longitude.", "\"On board the ketch Willi-Waw, Bombi Bight, Island of Anna, Solomon\nIslands,\" he read. \"Know all men by these presents that I do hereby sign", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"If you think you're goin' on board, Mr. Grief, I'll save you the\ntrouble. I know your kind, I foresaw your stiff-necked stubbornness. An'", "\"It gets me,\" he said. \"There can't be land around here. We never\ndrifted or ran like that. The whole voyage has been crazy. Will you\nkindly go up, Mr. Snow, and see what's ailing Jackie.\"", "\"Yes, full tilt, high and dry, in the night. They saved the passengers\nand mails. Then I bought a little island schooner, which took the rest", "\"Say no more, Captain. Say no more. They shall remain hers. Is that you,\nMr. Snow? Here's a friend I want you to take charge of--Captain Raffy.\nI'm going ashore for his wife.\"", "scupper. Van Asveld saw it and hesitated, then he and the girl ran aft\nfor their lives. The Goat Man fired, but splintered the corner of the", "\"Hikihoho belongs to old Parlay,\" the supercargo answered. \"He's got a\nfortune in pearls, saved up for years and years, and he sent the word", "\"You can play bridge,\" Deacon shut him off. \"We prefer piquet.\"\n\nReluctantly, Peter Gee was bullied into a game that he knew would be\nunhappy.", "\"I was,\" the newcomer answered. \"But we made a quick passage. The\n_Wonder's_ just around in the bight at Gooma, waiting for wind. Some", "\"That's Narii Herring,\" Grief told Mulhall. \"The big fellow at the\nwheel--the nerviest and most conscienceless scoundrel in the Paumotus.\"", "\"Since you're Swithin Hall, then who the deuce am I? Do you know that,\ntoo?\"\n\n\"No,\" Grief answered airily. \"But I'd like to know.\"", "\"All his ribs are smashed,\" the supercargo said, feeling along Parlay's\nside. \"He's still breathing, but he's a goner.\"", "Snow nodded. \"That's why I'm working for you. He broke me flat. It was\ndownright robbery. I bought the wreck of the _Cascade_, down in Sydney,\nout of a first instalment of a legacy from home.\"", "\"Not on your life, Captain Grief. You're making an easy half-million out\nof this. You will sail under my directions, and when we're well to sea\nand on our way I'll tell you and not before.\"" ], [ "\"If you drop any dynamite, or fire a single shot, we'll kill all on\nboard,\" Raoul cried up to them. \"I've got you, David Grief. You can't", "\"On board the ketch Willi-Waw, Bombi Bight, Island of Anna, Solomon\nIslands,\" he read. \"Know all men by these presents that I do hereby sign", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "\"She has jumped it, Captain Raffy. I sighted her bottom-up after the\nblow. Suppose we say she was worth seven thousand five hundred. I'll", "\"And a-half-west!\" came the answer. \"Right on it!\"\n\n\"Steady! That'll do!\"", "\"Two hours to get the sweat,\" he chattered with a ghastly grin. \"And a\ncouple more and I'll be all right. I know the damned thing to the last", "\"Mr. Carlsen, you will see that Mr. Pankburn remains on board.\"\n\n\"I'll have you broken for this!\" Aloysius screamed. \"You can't stop me.\"", "\"There's no law here,\" Griffiths pressed home his advantage. \"Tulagi is\na hundred and fifty miles away. I've got my clearance papers, and I'm", "yelled and cursed them both down and issued commands. Mulhall,\nthe supercargo, and Hermann were set to work in the cabin at\ndouble-straining and triple-straining the gasoline. A hole was chopped", "\"Well,\" Grief continued, \"old Parlay got caught in the same blow, and\narrived in Papeete with his hatful of pearls three weeks too late. He'd", "\"Read it,\" Griffiths commanded. \"Read it aloud.\"\n\nGrief obeyed; but while he read, the fingers of his left hand began an\ninfinitely slow and patient crawl toward the butt of the weapon under\nthe pillow.", "\"By George!\" Grief said to Snow, after the Tongan had gone back to his\nbunk. \"I smell something more than shell. Those three men are standing", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"It gets me,\" he said. \"There can't be land around here. We never\ndrifted or ran like that. The whole voyage has been crazy. Will you\nkindly go up, Mr. Snow, and see what's ailing Jackie.\"", "\"It's robbery, plain robbery,\" Deacon went on. \"You take my money and\nwon't give me action.\"", "\"And you're too good a navigator, Mr. Hall,\" Grief replied, \"not to know\nthat I can fetch your island any time by running down its latitude.\"", "\"You're a lot of jokers down here,\" Deacon laughed, but his laughter was\nstrained. \"How do I know you've got the money?\"", "was ten miles away. The others went overboard to swim. They were shot\nas they swam. I, only, lived, and the two devils; for me they wanted to", "For the rest of the time the _Kittiwake_ lay in Apia Aloysius Pankburn\npounded chain rust. Ten hours a day he pounded. And on the long stretch\nacross to the Gilberts he still pounded.", "\"Say no more, Captain. Say no more. They shall remain hers. Is that you,\nMr. Snow? Here's a friend I want you to take charge of--Captain Raffy.\nI'm going ashore for his wife.\"" ], [ "Hidden bowls glowed, and the room was filled with diffused golden light.\nMany shelves of books lined the walls. Grief fell to running over", "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "For the rest of the day, on the greater heights, they lay in a lava glen\nwhere terraced taro and _papaia_ grew. And here Grief made his plans and\nlearned the fulness of the situation.", "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "desire, and he made his eyes flash covetously whenever one was produced.\nTrue to his theory, the savages concluded that the gold, being of slight", "As the golden tint burned into his face it poured molten out of the ends\nof his fingers. His was the golden touch, but he played the game, not", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "At the end of another hour they swam under the frowning loom of the Big\nRock. Mauriri, feeling his way, led the landing in a crevice, up which\nfor a hundred feet they climbed to a narrow ledge.", "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "And high above the sounding surf, on a narrow shelf beside a ton of\ndynamite, David Grief planned his campaign, then rested his cheek on his\narm and slept.", "Followed a golden week. From dawn till dark a row of canoes rested\non their paddles two hundred feet away. This was the deadline. Rapa", "As the chase died away down the Broom Road, Grief led the traders to the\nroyal treasury, and the day was well over ere the last Fitu-Ivan bank\nnote had been redeemed with coin.", "Hall gave the trove of pearls a closer and longer scrutiny, estimating\nthe different parcels and adding the sum aloud.\n\n\"You're right,\" he admitted. \"They're worth a hundred thousand right\nnow.\"", "Chapter Seven--THE FEATHERS OF THE SUN\n\n\n\n\nI", "the very point, and they must follow him closely. Paper money was an\nearmark of higher civilization. That was why he, the Feathers of the\nSun, had introduced it. And that was why the traders opposed it. They", "crafty-eyed cannibal would deposit on the table a thousand dollars in\ngold, and go back over the rail, hugely-satisfied, with forty cents'\nworth of tobacco in his hand.", "\"The lagoon is virgin,\" Hall explained. \"You saw yourself that most\nof the shell is large and old. But it's funny that we got most of the", "porcupine. Around his neck and hanging down on his dirty chest was a\nstring of gold sovereigns. His ears were hung with silver half-crowns,", "\"She's a beauty,\" the mate remarked. \"A perfect circle.... Looks as if\nit might be eight or nine miles across.... Wonder if there's an entrance\nto the lagoon.... Who knows? Maybe it's a brand new find.\"" ], [ "But water remained their direst need. Mauriri prayed to the Goat\nGod for rain. Taute prayed to the Missionary God, and his two fellow", "of the village when I rushed it. And if you'll relieve me of the heads,\nI'll be well obliged.\" He paused and sighed. \"I suppose they'll have", "\"If the rain came, the rock-basins would fill,\" said Mauriri. It was\ntheir first twenty-four hours without water. \"Big Brother, to-night you\nand I will get water. It is the work of strong men.\"", "\"Here! Drink!\"\n\nThe calabash was full, and Grief drank sweet fresh water which had come\nup from the depths of the salt.\n\n\"It flows out from the land,\" said Mauriri.", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "Grief nodded and ordered Mauriri to bring a calabash. Raoul looked into\nthe Goat Man's eyes, but saw nothing save languid uninterest as the\nprecious quart of water was wasted on the ground.", "dark... Every man get black bean... Big wind come... No chance...\nEverybody get up tree... No good luck them pearls... I tell you\nbefore... No good luck.\"", "It was that night that Grief and Mauriri came back with but one calabash\nof water. A patch of skin six inches long was missing from Grief's", "\"The dog is thirsty,\" Raoul said.\n\nGrief nodded, and another calabash was presented to the animal.\n\nAgain Raoul searched the eyes of the natives and learned nothing.", "thousand inhabitants of Fitu-Iva had trooped in. The three intervening\ndays had had their share of excitement. At first there had been much\nselling from the sparse shelves of the traders. But when the soldiers", "\"Eight o'clock, an' hell don't get hot till noon,\" he complained. \"Wisht\nto God for a breeze. Ain't we never goin' to get away?\"", "VII\n\nA week later Mauriri and a Raiatea man swam back with empty calabashes.\nThe tiger sharks had arrived in the harbour. The next day they thirsted\non the Big Rock.", "And then there was no wind. The flying calm streak had reached\nthem. Grief lighted a match, and the unshielded flame burned without", "\"We hunger now, Brother,\" Grief said, \"but it is better than to hunger\nfor many days to come. The Big Devil, after feasting and drinking good", "and planters from equally distant and dry shores, bringing with them\nmagnificent thirsts. Goboto is the mecca of sprees, and when they have", "Every here and there were grass houses. Voices and laughter rippled\nthrough the darkness. Out on the water flickering lights and soft-voiced\nchoruses marked the fishers returning from the reef.", "the sweltering heat of the mid-tropics, is not sufficient moisture for a\nman's body. The next night Mauriri and Tehaa returned with no water. And", "water. And in that same instant the bush exploded into life. There were\nwild yells of defiance, and black and naked bodies leaped forward like\napes through the mangroves.", "\"Very funny t'ing,\" he reported. \"One white man stop all the time. He\nhas big rifle. He lay in water and watch. Maybe twelve o'clock, other", "\"We're all right,\" Griffiths said. \"This rain won't last. We can hold\nthis course till we pick up the lights. Anchor in thirteen fathoms." ], [ "of the village when I rushed it. And if you'll relieve me of the heads,\nI'll be well obliged.\" He paused and sighed. \"I suppose they'll have", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "Scotchman was a man of his word, the first true peace was made. In\nthe meantime McTavish had built the bungalow and barracks, cleared the", "\"Yes,\" Grief continued. \"All the repairs are finished. I can't get the\nlongitude of your island out of your husband, though I'm still in hopes\nhe'll relent.\"", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "Pankburn was taken aback. For at least five minutes he debated with\nhimself, then licked his lips and surrendered.\n\n\"If you promise to go, I'll tell you now.\"", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "\"We will see the system work,\" he decreed. \"The people have come far.\"\n\n\"'Tis good money you're asking me to pay out,\" Deasy muttered in a low\nvoice to the king.", "\"Very well,\" he agreed. \"I shall give you the coin money now. How much?\"\n\n\"And we will see the system work,\" the king proclaimed, partaking in his\nChancellor's triumph.", "\"I certainly do.\" Grief paused and laughed with genuine mirth. \"It's my\nfirm conviction that Griffiths is a rogue, and that he treated me quite", "over again. That, for the good of your soul; and that, for your mother's\nsake; and that, for the little children, undreamed of and unborn, whose", "scurvily yesterday. 'Sign,' he says, 'sign in full, at the bottom, and\ndate it,' And Jacobsen, the little rat, stood in with him. It was rank", "\"I'm coming back with you for that two hundred thousand,\" Pankburn\nanswered. \"In the meantime I'm going to build an island schooner. Also,", "\"It's a go.\" Pankburn put out his hand to ratify the agreement. \"If it\ndoesn't kill me,\" he added.", "\"There's something doing on Swithin Hall's island,\" Grief said, shaking\nhis head. \"I can't make out what it is, but I get the feel of it. What\ndoes Swithin Hall look like?\"", "\"For the good of your soul, Pankburn,\" was the way he emphasized his\nblows. \"For the good of your mother. For the progeny that will come", "invitation to Denby to make suggestions. Then followed a long, weary,\nfinal sigh, and a \"Me like 'm rum.\"", "had kept, and he, with many protestations of his aged decrepitude, swore\npeace again and everlasting. Then was discussed the matter of starting a", "The little Scotchman shook his head. \"There was nothing to settle. It\nall depends how you look at it. The other way would be to say it was\nsettled, entirely settled, mind you, before I got there.\"" ], [ "\"Said he'd like to come in and talk with you,\" Brown said. \"But I know\nwhat the brute is after. Wants to see how near starved to death we are.\"", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"Who's playing this game?\" Deacon flamed at his host; and then, to\nGrief: \"I've lost two thousand to you. Will you play for two thousand?\"", "\"Two hours to get the sweat,\" he chattered with a ghastly grin. \"And a\ncouple more and I'll be all right. I know the damned thing to the last", "pay over to you fifteen thousand and give you a passage. Don't move your\nhands from your lap.\" Grief stood up, went over to him, and took his", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "\"It's robbery, plain robbery,\" Deacon went on. \"You take my money and\nwon't give me action.\"", "\"There's no need your telling me,\" Deacon snarled. \"I've studied\narithmetic. I owe you forty-five pounds. There, take it!\"", "\"Of all men, Cornelius Deasy!\" he cried.\n\n\"If it ain't Grief himself, the old devil,\" was the return greeting, as\nthey shook hands.", "That Peter Gee was lucky was patent from the continual badgering of\nDeacon, who filled his glass frequently. He had lost the first game,\nand, from his remarks, was losing the second, when the door opened and\nDavid Grief entered.", "\"Go for'ard, Cornelius, and take a scrub first,\" he said. \"The boy will\nbring you a pair of dungarees and a shirt. And by the way, before you", "\"If she's going to come let her come!\" he cried. \"There's no use\nshilly-shallying this way! Whatever the worst is, let us know it and", "He released his clutch on the rail, and would have fallen had Grief\nnot caught his arm. He seemed to undergo a transformation, to stiffen\nphysically, to thrust his chin forward aggressively, and to glint\nharshly in his eyes.", "\"'Tis a run on the bank you've precipitated,\" he said reproachfully to\nGrief.\n\n\"Here is the sack to put the coin money in,\" Ieremia urged.", "from the carrion. Have another drink, my brave sailor-men. Well, well,\nwhat men will dare for a few little oyster drops! There they are, the", "side, opened and face downward, a novel lay on a chair. From the\ncolour in her cheeks, Grief concluded that she had not been long in the", "\"Hello!\" he said. \"I've heard of you.\"\n\n\"I wish I'd never heard of you,\" Grief answered.", "The shame of what he had done must have tingled in Deacon, for he\nanswered, \"No, we'll play for a thousand. And say! Thirty-one points is", "\"With all his money, coming around like a rent collector,\" he chanted\nhis outrage, almost in an ecstasy of anger. \"He's loaded with money,", "\"And I thought you were in Europe,\" he muttered. Hope flickered for\na moment. \"Look here, you're joking me. How do I know you're Swithin\nHall?\"" ], [ "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "lead. They've found the treasure, and we've got to trade them out of it.\nGet the whole crew aside and lecture them that they are to be interested", "for the gold, but for the game's sake. It was a man's game, the rough\ncontacts and fierce give and take of the adventurers of his own blood", "WANTED--To exchange a half interest in buried treasure,\n worth five million francs, for transportation for one to an\n unknown island in the Pacific and facilities for carrying", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "Followed a golden week. From dawn till dark a row of canoes rested\non their paddles two hundred feet away. This was the deadline. Rapa", "desire, and he made his eyes flash covetously whenever one was produced.\nTrue to his theory, the savages concluded that the gold, being of slight", "porcupine. Around his neck and hanging down on his dirty chest was a\nstring of gold sovereigns. His ears were hung with silver half-crowns,", "\"The seal-poacher? I've heard of you. What under the sun brought you\ndown here on my preserves?\"\n\n\"Needed the money. The seal herds are about finished.\"", "Britain, Germany, and the United States discovered its desirableness\nsimultaneously. It was like gamins scrambling for a penny. They got", "\"I guess he's headed for the bush,\" Worth said, springing astride his\nhorse and starting. \"Oliver is down there by the river. Hope he didn't\nget _him_.\"", "As the golden tint burned into his face it poured molten out of the ends\nof his fingers. His was the golden touch, but he played the game, not", "\"And this is your secret island that's had all the beaches talking for\nyears?\" Grief answered. \"Well, I know the formula now for finding it.\"\n\n\"How's that?\" Hall asked quickly.", "\"Treasure-hunters, maybe?\" Snow speculated. \"The _Sophie Sutherland_ and\nthe _Herman_ were sealers, you remember, chartered out of San Francisco", "scupper. Van Asveld saw it and hesitated, then he and the girl ran aft\nfor their lives. The Goat Man fired, but splintered the corner of the", "salted down the government treasure chest, something like a million\ndollars gold, but all in English coinage, and put it on board the", "\"Other men have already made that journey for them,\" old Parlay cackled.\n\"See this one!\" He pointed to a large, perfect pearl the size of a small", "\"She's a beauty,\" the mate remarked. \"A perfect circle.... Looks as if\nit might be eight or nine miles across.... Wonder if there's an entrance\nto the lagoon.... Who knows? Maybe it's a brand new find.\"", "\"It takes three games to make a rubber. It's my deal. Come on!\"\n\nPeter Gee acquiesced, and the third game was on.", "the very point, and they must follow him closely. Paper money was an\nearmark of higher civilization. That was why he, the Feathers of the\nSun, had introduced it. And that was why the traders opposed it. They" ], [ "And then Denby made his mistake and played his joke. Stepping around\nbehind Koho, he unlocked the medicine closet and took out a four-ounce", "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "Mulhall saw him first, and drew Grief's attention. It was Narii Herring,\ncrouching and holding on where the dim binnacle light shone upon him. He", "And you can guess the end.\" He shrugged his shoulders. \"There was a\nJapanese servant in the bungalow. He saw it. Said she did it with the", "\"Read it,\" Griffiths commanded. \"Read it aloud.\"\n\nGrief obeyed; but while he read, the fingers of his left hand began an\ninfinitely slow and patient crawl toward the butt of the weapon under\nthe pillow.", "\"That's more than we accomplished with our cruisers. Neither the German\nnor the English ever laid eyes on him. You were the first.\"\n\n\"No; McTavish was the first,\" Grief disclaimed.", "VI\n\nThe next day Grief's suspicions found further food. Ashore early,\nhe strolled across the little island to the barracks occupied by the\ndivers.", "followed. On the edge of the river bank they came upon him. He still sat\non his horse, very white-faced, and gazed at something on the ground. It", "Sick he did look, his lean face working nervously with the rage that\npossessed him. Grief lifted the book and set it aside. Beneath lay a\nwritten sheet of tablet paper.", "At the end of another hour they swam under the frowning loom of the Big\nRock. Mauriri, feeling his way, led the landing in a crevice, up which\nfor a hundred feet they climbed to a narrow ledge.", "At the same time he plunged both hands in the basket and drew forth many\npackages of Fitu-Ivan notes. It was noticed that a peculiar odour was\nadrift about the council.", "\"And this is where I come in with the missing details,\" he said. \"Johnny\nBlack did tell. He told my father. Wrote him from Levuka, before he came", "\"By George!\" Grief said to Snow, after the Tongan had gone back to his\nbunk. \"I smell something more than shell. Those three men are standing", "dawned on him that a trick had been played, and into his eyes came an\nexpression of hatred and malignancy so primitive, so abysmal, that it", "\"I _was_ thinking that,\" Snow acknowledged.\n\n\"And there's the entrance opening up just where it ought to be----\"", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "Along the beach they saw a man walking. He moved casually, as if out\nfor a morning stroll. Captain Warfield gritted his teeth. It was Narii\nHerring.", "Cornelius nodded to several of the soldiers, who led the supercargo away\nbehind an avocado tree. A minute later he emerged, minus the garment in\nquestion, and sat down beside Grief.", "\"I'm glad the calm held,\" he said. \"It enabled me to get around to see\nyou. My supercargo dug up that little note of yours, and I brought it\nalong.\"" ], [ "Twist and dodge as he would, everywhere the ex-Chancellor of the\nExchequer was met or overtaken by the flying pig. He scuttled like a", "\"Mr. Carlsen, you will see that Mr. Pankburn remains on board.\"\n\n\"I'll have you broken for this!\" Aloysius screamed. \"You can't stop me.\"", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "\"It gets me,\" he said. \"There can't be land around here. We never\ndrifted or ran like that. The whole voyage has been crazy. Will you\nkindly go up, Mr. Snow, and see what's ailing Jackie.\"", "flew out, but he won safely across. Grief followed, and so near did\none bullet come that the dust of its impact stung his cheek. Nor was", "\"Not on your life, Captain Grief. You're making an easy half-million out\nof this. You will sail under my directions, and when we're well to sea\nand on our way I'll tell you and not before.\"", "So it was that Brown, thrilling with all the romance and adventure he\nhad read and guessed and never lived, took his place in the sternsheets", "After a giddy night of grand and lofty tumbling, in which, over a big\nand dying sea, without a breath of wind to steady her, the Uncle Toby", "For the last time in his life the supercargo of the _Wonder_ perpetrated\na practical joke on a native. He was in the main cabin, checking off the", "Captain Boig was similarly injured. Peter Gee had come off undamaged,\nbecause it chanced that it was bread-baskets and not jaws that struck\nhim on the fists.", "His voice faded away in a weak stutter as he collapsed down into the\ncabin and his employer took charge. The _Rattler_ was just entering the", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "to and flying distress signals. The captain had died the day\nbefore--blackwater fever.\"", "scupper. Van Asveld saw it and hesitated, then he and the girl ran aft\nfor their lives. The Goat Man fired, but splintered the corner of the", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "In the late afternoon of the second day Grief ordered a whaleboat into\nthe water. He took his place in the bow, a live cigarette in his mouth", "\"Hikihoho belongs to old Parlay,\" the supercargo answered. \"He's got a\nfortune in pearls, saved up for years and years, and he sent the word", "\"On board the ketch Willi-Waw, Bombi Bight, Island of Anna, Solomon\nIslands,\" he read. \"Know all men by these presents that I do hereby sign", "\"It's all right, boys,\" Grief said quietly. \"Put down your guns and\nover the side with you. Mr. Albright, toss the tobacco to that one-eyed\nbrute.\"", "\"Yes, full tilt, high and dry, in the night. They saved the passengers\nand mails. Then I bought a little island schooner, which took the rest" ], [ "\"They've dug up the money, Mr. Grief. The old beggar's loaded with it.\"", "lead. They've found the treasure, and we've got to trade them out of it.\nGet the whole crew aside and lecture them that they are to be interested", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "The manager galloped away through the trees. A few minutes later, as\nthe charred wreck of the barracks crashed in, they heard him calling and", "\"That's more than we accomplished with our cruisers. Neither the German\nnor the English ever laid eyes on him. You were the first.\"\n\n\"No; McTavish was the first,\" Grief disclaimed.", "Tehaa, alone among the Raiateans, was cragsman enough to venture the\nperilous way, and dawn found him in a rock-barricaded nook, a hundred\nyards to the right of Grief and Mauriri.", "\"Lie here and rest,\" he said to Grief. \"It will be a long swim to-night.\nAs for this cook-man, I will take him now to the higher places where my\nbrothers live with the goats.\"", "At the end of another hour they swam under the frowning loom of the Big\nRock. Mauriri, feeling his way, led the landing in a crevice, up which\nfor a hundred feet they climbed to a narrow ledge.", "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "followed. On the edge of the river bank they came upon him. He still sat\non his horse, very white-faced, and gazed at something on the ground. It", "And high above the sounding surf, on a narrow shelf beside a ton of\ndynamite, David Grief planned his campaign, then rested his cheek on his\narm and slept.", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "\"Other men have already made that journey for them,\" old Parlay cackled.\n\"See this one!\" He pointed to a large, perfect pearl the size of a small", "Old One-Eye, as befitted a chief and leader, paddled out alone, facing\nperil for the rest of the tribe. As Carlsen leaned over the rail to help\nthe visitor up, he turned his head and remarked casually:", "WANTED--To exchange a half interest in buried treasure,\n worth five million francs, for transportation for one to an\n unknown island in the Pacific and facilities for carrying", "In turn, the talking man of the windward coast, the talking man of the\nleeward coast, and the talking man of the mountain villages, each backed", "with it. We've got to begin all over again. Mr. Albright! You know that\npile of old chain on the beach at the boat-landing. Find the owner, buy", "In the morning, when Mauriri led him over the summit of the Big Rock,\nDavid Grief understood why he could not have done it in the night.", "and all the ammunition, but they got the boat. Thus they learned of your\ncoming. Brown is now on this side of the Big Rock with the guns and the\nammunition.\"", "chance to shoot. The Goat Man, after a minute, was successful, and they\nsaw the body of one man sink sluggishly. But to the Raiatean sailors," ], [ "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"Go for'ard, Cornelius, and take a scrub first,\" he said. \"The boy will\nbring you a pair of dungarees and a shirt. And by the way, before you", "\"Of all men, Cornelius Deasy!\" he cried.\n\n\"If it ain't Grief himself, the old devil,\" was the return greeting, as\nthey shook hands.", "\"Who's playing this game?\" Deacon flamed at his host; and then, to\nGrief: \"I've lost two thousand to you. Will you play for two thousand?\"", "\"Jove!\" Mulhall muttered under his breath. \"A long-legged Napoleon the\nThird, but burnt out, baked, and fire-crackled. And mangy! No wonder he", "\"Anstey--Phil Anstey,\" Grief answered promptly. \"Bound on the _Uncle\nToby_ from the Gilberts to New Guinea, and trying to find my longitude.", "\"I can give you another licking,\" Grief answered. \"And let me tell you\none thing, you besotted whelp, I'll keep on licking you as long as my", "\"You'll never leave it alive, except in double irons.\" Grief surveyed\nhis guest with an air of consideration. \"I've handled your kind before.", "\"Said he'd like to come in and talk with you,\" Brown said. \"But I know\nwhat the brute is after. Wants to see how near starved to death we are.\"", "up. The _Uncle Toby's_ drift took them across the bow and they could\nnot make out the name; but before night they picked up with a small,", "scurvily yesterday. 'Sign,' he says, 'sign in full, at the bottom, and\ndate it,' And Jacobsen, the little rat, stood in with him. It was rank", "\"We hunger now, Brother,\" Grief said, \"but it is better than to hunger\nfor many days to come. The Big Devil, after feasting and drinking good", "\"Two hours to get the sweat,\" he chattered with a ghastly grin. \"And a\ncouple more and I'll be all right. I know the damned thing to the last", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "\"'Tis a run on the bank you've precipitated,\" he said reproachfully to\nGrief.\n\n\"Here is the sack to put the coin money in,\" Ieremia urged.", "\"Yes, yes,\" Parlay was cackling. \"Many dead men lie on the table\nthere. I know those pearls, all of them. You see those three! Perfectly", "with fever, and no one remarkably drunk.\" He sighed, \"I suppose the\nnight is young yet. Hello, Peter! Did you catch that big squall an hour", "\"Say no more, Captain. Say no more. They shall remain hers. Is that you,\nMr. Snow? Here's a friend I want you to take charge of--Captain Raffy.\nI'm going ashore for his wife.\"", "\"Hello!\" he said. \"I've heard of you.\"\n\n\"I wish I'd never heard of you,\" Grief answered.", "\"Mr. Carlsen, you will see that Mr. Pankburn remains on board.\"\n\n\"I'll have you broken for this!\" Aloysius screamed. \"You can't stop me.\"" ], [ "The more he refused, the more One-Eye insisted on a trade. At last, with\nan appearance of irritation and anger, and as a palpable concession,", "\"That is the chief devil,\" Mauriri whispered, \"and his eyes are blue\nlike yours. He is a terrible man. See! He holds Naumoo that we may not\nshoot him.\"", "Captain Warfield groaned, and all eyes drew to him. He was looking\nthrough the glasses down the length of the lagoon to the southeast.\n\n\"There she comes,\" he said quietly.", "\"She's a beauty,\" the mate remarked. \"A perfect circle.... Looks as if\nit might be eight or nine miles across.... Wonder if there's an entrance\nto the lagoon.... Who knows? Maybe it's a brand new find.\"", "desire, and he made his eyes flash covetously whenever one was produced.\nTrue to his theory, the savages concluded that the gold, being of slight", "One-Eye floundered down on deck, grinning appeasingly and failing to\nhide the fear he had overcome but which still possessed him. He was lame", "voices. Had One-Eye understood English he would have been enlightened.", "Grief stared straight before him with lustreless eyes for a full minute,\nas if summoning some vision to his inner sight. Then the corners of his\neyes wrinkled and the ends of his yellow mustache lifted in a smile.", "They did not need glasses to see. A flying film, strangely marked,\nseemed drawing over the surface of the lagoon. Abreast of it, along the", "eyes. But Grief, in his early youth, had learned how deceptive this type\ncould prove, as well as the deceptiveness of blue eyes that screened the\nsurface with fun and hid what went on behind.", "\"Two cable lengths wide, marked on the north by three separated\ncocoanuts, and on the south by pandanus trees. Eight miles in diameter,\na perfect circle, with an island in the dead centre.\"", "Old One-Eye, as befitted a chief and leader, paddled out alone, facing\nperil for the rest of the tribe. As Carlsen leaned over the rail to help\nthe visitor up, he turned his head and remarked casually:", "man. His eyes were deep sunken and feverish, his cheeks fallen in and\ncavernous. The hair of his head seemed to have come out in patches, and", "teeth were left to serve him. Face and body were shrunken and withered,\nbut his black, bead-like eyes, small and close together, were very", "Both men were on their feet and gazing at the canoe. Aft could be seen\nthe unmistakable sombrero of a white man. Quick alarm showed itself on\nthe face of the mate.", "from his face. The eyes were keen and strong, but a bit too close\ntogether--not pinched, however, but just a trifle near to balance the", "was a searing ache to his eyeballs. The palm trees, absolutely still,\noutlined flatly against the unrefreshing green of the packed jungle,", "Chapter Seven--THE FEATHERS OF THE SUN\n\n\n\n\nI", "know.\" He fumbled in his coat pocket and drew forth an object that\nflashed in the faint light. \"They don't know the meaning of that. But I", "While the Rapa men dived for the fish, Albright threw a bundle of\ntrade tobacco ashore. The one-eyed man nodded his head and writhed his" ], [ "up, three persons clinging to it, and whirl away by the wind into the\nlagoon. Two detached themselves from it and swam to the Tahaa. Not", "instructions to them as they passed slowly beneath. By Grief's side\nlay several bundles of dynamite sticks, well-lashed together and with\nextremely short fuses.", "\"Past that we are safe, Big Brother,\" he said. \"The white devils never\ndare it, for there are rocks we roll down on their heads, and there", "\"If you drop any dynamite, or fire a single shot, we'll kill all on\nboard,\" Raoul cried up to them. \"I've got you, David Grief. You can't", "and tore their thin undershirts from their backs. They moved slowly, as\nif their bodies weighed tons, never releasing a hand-hold until another", "Asveld had managed to catch the girl and was struggling with her. The\nGoat Man held a rifle on him and waited a chance. The dynamite struck\nthe deck in a compact package, bounded, and rolled into the port", "They could see the grass-thatched shed lift and collapse, while a froth\nof foam cleared the crest of the sand and ran down to the lagoon.", "chance to shoot. The Goat Man, after a minute, was successful, and they\nsaw the body of one man sink sluggishly. But to the Raiatean sailors,", "And then there was no wind. The flying calm streak had reached\nthem. Grief lighted a match, and the unshielded flame burned without", "\"It gets me,\" he said. \"There can't be land around here. We never\ndrifted or ran like that. The whole voyage has been crazy. Will you\nkindly go up, Mr. Snow, and see what's ailing Jackie.\"", "Furthermore, it will be the first time that even I have done it. Put out\nyour hand. You feel it? That is where Pilsach's dynamite is kept. Lie", "to cut the rope, but I shall hold him tight. Be not afraid, Big Brother.\nThrow, and throw straight, and good-bye.\"", "The muzzle of the rifle, four feet away, was bearing directly on him,\nwhen Grief resolved to act. The rifle wavered as Griffiths kept his", "\"Where is Brown?\" Grief demanded.\n\n\"On the Big Rock. I will tell you afterward. Come now!\"\n\n\"But my men in the whaleboat?\"", "white. Their men could be seen chopping and fighting to get them apart.\nThe _Roberta_, cleared of her anchors, with a patch of tarpaulin set", "\"They are with the women on the strange schooner. They will not be\nkilled. I tell you true. The devils want sailors. But you they will", "burst his lungs at the same time, or got the 'bends,' for he died in two\nhours. He died screaming. They could hear him for miles. He was the most", "have run to live with the goats. But there is not food for all in the\nhigh mountains. And the men will not go out and fish, and they work no", "appear, and on the several occasions that stars broke through they were\ntoo dim and fleeting for identification. By this time it was patent to\nthe veriest tyro that the elements were preparing to break loose. Grief,", "\"By George!\" Grief said to Snow, after the Tongan had gone back to his\nbunk. \"I smell something more than shell. Those three men are standing" ], [ "of the village when I rushed it. And if you'll relieve me of the heads,\nI'll be well obliged.\" He paused and sighed. \"I suppose they'll have", "with the goats. And to-night, once again, and as never before, we shall\nfeast and rejoice in the Big House.\"", "Scotchman was a man of his word, the first true peace was made. In\nthe meantime McTavish had built the bungalow and barracks, cleared the", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "\"Yes,\" Grief continued. \"All the repairs are finished. I can't get the\nlongitude of your island out of your husband, though I'm still in hopes\nhe'll relent.\"", "Pankburn was taken aback. For at least five minutes he debated with\nhimself, then licked his lips and surrendered.\n\n\"If you promise to go, I'll tell you now.\"", "\"I say, Grief,\" he blurted out, \"the boy's all right. Call the whole\nthing off, and let's forget it in a final nightcap.\"", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "\"Very well,\" he agreed. \"I shall give you the coin money now. How much?\"\n\n\"And we will see the system work,\" the king proclaimed, partaking in his\nChancellor's triumph.", "\"We will see the system work,\" he decreed. \"The people have come far.\"\n\n\"'Tis good money you're asking me to pay out,\" Deasy muttered in a low\nvoice to the king.", "\"I certainly do.\" Grief paused and laughed with genuine mirth. \"It's my\nfirm conviction that Griffiths is a rogue, and that he treated me quite", "\"I'm coming back with you for that two hundred thousand,\" Pankburn\nanswered. \"In the meantime I'm going to build an island schooner. Also,", "\"It's a go.\" Pankburn put out his hand to ratify the agreement. \"If it\ndoesn't kill me,\" he added.", "\"There's something doing on Swithin Hall's island,\" Grief said, shaking\nhis head. \"I can't make out what it is, but I get the feel of it. What\ndoes Swithin Hall look like?\"", "over again. That, for the good of your soul; and that, for your mother's\nsake; and that, for the little children, undreamed of and unborn, whose", "\"For the good of your soul, Pankburn,\" was the way he emphasized his\nblows. \"For the good of your mother. For the progeny that will come", "scurvily yesterday. 'Sign,' he says, 'sign in full, at the bottom, and\ndate it,' And Jacobsen, the little rat, stood in with him. It was rank", "Pankburn took charge of the trading. For the penny in One-Eye's nose he\ngave ten sticks of tobacco. Since each stick cost David Grief a cent,", "\"'Tis a run on the bank you've precipitated,\" he said reproachfully to\nGrief.\n\n\"Here is the sack to put the coin money in,\" Ieremia urged.", "\"Well, he's answered you,\" McMurtrey laughed genially. \"And I'll back\nhis bet myself for a couple of sovereigns.\"" ], [ "Grief finished the document and read over what he had written:\n\n To Swithin Hall,\n for pearls taken from his lagoon (estimated) $100,000", "a hundred quid apiece. Better have another drink. You're looking a bit\npale---- There, put that down you, and if you'll take my advice, Mr.", "Pankburn took charge of the trading. For the penny in One-Eye's nose he\ngave ten sticks of tobacco. Since each stick cost David Grief a cent,", "\"What ought they to be worth?\"\n\n\"Fifty or sixty thousand pounds--and that's to us buyers. In\nParis----\" He shrugged his shoulders and lifted his eyebrows at the\nincommunicableness of the sum.", "\"And at what do you figure your working expenses?\" Grief went on. \"Your\ntime, and your two men's, and the divers'?\"\n\n\"Five thousand would cover it.\"", "To passage to Syndey, four persons,\n at $120. 480\n\n To white lead for painting Swithin\n Hall's two whaleboats 9", "\"We've got fifty cases below,\" he said, \"and as I figure it, three cases\nbuy a hundred thousand dollars. There was only a million dollars buried,", "\"I'll play you a hundred pounds a game, if that will do you any good.\"\n\nGrief beamed his delight. \"That will be all right, very right. Let us\nbegin. Do you count sweeps?\"", "was that established by Pankburn with One-Eye. Five sovereigns fetched\na stick of tobacco; a hundred sovereigns, twenty sticks. Thus, a", "\"For what?\"\n\n\"Do you think dead pigs grow on trees? The sum of ten shillings for that\npig is entered in the accounts.\"", "\"Hundred up--five pounds a game?\"\n\nPeter Gee agreed.\n\n\"With the lurch double, of course, ten pounds?\"\n\n\"All right,\" said Peter Gee.", "three thousand pounds if she was worth a penny? And didn't he beat up\nStrothers till he lay abed a fortnight, all because of a difference of", "\"We'll buy these to-morrow just the same,\" Isaacs assured him.\n\n\"Then you'll be doing your buying in hell.\"", "\"Haven't got anything yet,\" Grief murmured whimsically, as he began the\ndeal. \"For the usual five hundred, I suppose?\"", "\"Jacobsen,\" he said, \"will you open the cash-box and pay this--this\nbloodsucker--twelve hundred pounds?\"", "\"A left-over from last steamer. Company's orders to treat him nice. He's\nlooking to invest in a plantation. Has a ten-thousand-pound letter of", "\"I'm afraid it is,\" Grief admitted. \"You see, and no offence, he's\nreally worth it. He spends his time wherever the trouble is. He is a", "\"Old Parlay arrived after that with his pearls. There was one single one\nof them, they say, worth sixty thousand francs. Peter Gee saw it, and", "\"On the contrary. It has been excellent. The shelves are empty,\nexceedingly empty. But----\" His eyes glistened proudly. \"But there are\nmany goods remaining in the storehouse; I have kept it carefully\nlocked.\"", "told me so himself last time we were drunk at Guvutu. Worth millions and\nmillions, and Shylocking me for what he wouldn't light his pipe with.\"" ] ]

[ "Who is also opening his own exhibit?", "What are both Scrooge and Glomgold in search of finding?", "Where did Donald find the map?", "Who was the pilot of the plane?", "What was the temple built around?", "What was inside of the temple?", "Who claimed the gold?", "What happens to the temple?", "How much did the villagers sell Scrooge the lake for?", "Who is opining the museum exhibit?", "Who took part in the expeditions along with Scrooge?", "Who does Scrooge challenge?", "What is Scrooge racing against Glomgold to find?", "Who finds the first clue?", "Who is the actual pilot of the plane Scrooge hires?", "Who filed the claim on the gold using the plane's radio?", "What does Glomgold find upon further investigation of the temple?", "What relieves the villagers from the drought?", "What does scrooge agree to build for the village?", "Who overhears Scrooge bragging to his nephews?", "What are Glomgold and Scrooge racing to find?", "Where was the first clue found?", "Who pilots the plane that Scrooge hires?", "Who finds the treasure on the mountain first?", "What are the names of Scrooge's nephews?", "What is the Eye of Manco Capac?", "What do they use as a parachute when the mountain explodes?", "What does Scrooge agree to build for the village?", "How much does Scrooge buy the lake for?" ]

[ [ "Flintheart Glomgold", "Flintheart Glombold" ], [ "The greater Incan treasure", "Incan gold" ], [ "Inside an Incan vase", "Inside a vase" ], [ "Glomgold", "scrouge" ], [ "A large volcanic fumarole", "olcanic fumerole." ], [ "Golden Inca artifacts", "The incan gold treasure" ], [ "Scrooge", "Scrooge" ], [ "It was blown into the sky", "It blows up with the volcano." ], [ "One peso", "1 Peso" ], [ "Scrooge McDuck", "Glomgold" ], [ "Donald, Huey, Dewey, and Louie", "Huey, Dewy and Louie." ], [ "Glomgold", "Glomgold" ], [ "The greater incan treasure", "greater incan treasure" ], [ "Donald Duck", "Donald." ], [ "Glomgold", "Glomgold" ], [ "Scrooge", "Scrooge" ], [ "The Eye of Manco Capac", "\"Eye\" of Manco Capac" ], [ "The massive splash of water", "the ducks falling in the lake" ], [ "A water pumping station", "A pumping station." ], [ "Flintheart Glomgold", "Flintheart Glomgold" ], [ "the \"greater Incan treasure\"", "Incan gold treasure" ], [ "Inside the Incan vase that was knocked over", "Inside an Incan vase that was broken" ], [ "Glomgold", "Glomgold" ], [ "Scrooge", "Glomgold." ], [ "Huey, Dewey, Louie", "huey, dewey, louie" ], [ "an enormous sunburst covered in gemstones", "A huge disc encrusted with gemstones" ], [ "a tapestry", "A rug-like cloth" ], [ "a pumping station", "pumping station" ], [ "One peso", "one peso" ] ]

[ [ "(BEAT)\n And the few surviving Priests faded Into\n quiet obscurity.\n The chamber is closed. We see an encrusted key turning in a\n heavy set lock and we --", "(12).\n Their LEADER holds her close, BUTCHER KNIFE at her\n throat. Mouth at her ear.\n\n LEADER\n Go ahead ...scream.", "Aaron watches,. silently. A GROUP OF TOWNSPEOPLE encircle the\n grave. Everyone wearing black goggles for protection from\n the swirling dust.", "LEADER (CONT'D)\n Guess we'll find out.\n They move in on Priest, chemicals burning in their blood,", "When it's over, eleven troopers lie on the ground writhing.\n Everything goes quiet.", "mouths leering.\n Priest folds his hands into the prayer position.\n The Workers look at each other. Laugh.", "So is his hand.\n Priest holds the severed limb, its fingers still clutching\n the blade. The Leader collapses, a Holy Shitl expression", "HICKS\n There ain't nobody left. Nobody.\n\n PRIESTESS\n\n (OMINOUS)\n Too many mouths to feed.", "(BEAT)\n Remember your vow: \"To go against the\n Church is to go against God\".\n\n 0\n The officers start to lead Priest and Koeppen out the chamber,", "Before they can react, he throws the knives into their feet.\n They HOWL, pinned to the concrete.\n Scared, the leader clutches the girl, pressing against the", "A. The crucified Priests taken down from their crosses,\n their naked bodies like ragdolls.\n B. The corpses now wrapped in white cloth, carefully placed", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "withering... quickly becoming nothing more than husks.\n Floating black kites.\n Hicks and Priest stand, surrounded by the epic destruction,", "shut, locking them in. They BASH against the door, SHRIEKING\n horribly, the chamber now an oven.\n Priest presses against the door, it SPLINTERS all around him,", "HICKS (CONT'D)\n But man had the sun.\n THE CAMERA TILTS DOWN to find another GROUP OF MEN -- more", "They're ahead of it. Barely.\n In his excitement, Hicks thunders ahead, starting the descent\n down the other side. The Priestess turns to shout back to", "As he walks,people whisper. He hears all of it.\n He heads into the streets. CITIZENS hurry by, some with.", "(BEAT)\n Someone's drawing us out.\n\n HICKS\n Who?\n The Priests just stare into the fire, not having any idea.", "now...when it's finally my time...no more\n faith. They took it away from me.\n Priest gazes at her, trying his best to be comforting.", "BLACK HAT (CONT'D)\n it's better to be with your enemies than\n to be alone, Priest. Humanity had its\n chance." ], [ "(LAUGHS)\n A Priest! Well, lookie here.. We got us\n a real life war-hero boysl Heard you\n guys were real baddasses.\n The Workers all pull out large knives.", "Priest's leg, pulling him down. Suddenly DOZENS OF VAMPIRES\n emerge, seemingly birthed from the soil. The warriors fight", "A BRUTAL FIGHT\n Spinning, twisting, kicking, gnashing. Bodies locked in deep\n combat as Priest fends off the ferocious attackers. War", "Clergy the Priests disbanded. The\n former warriors to be integrated as\n members of regular society.\n We see a WAX SEAL pressed onto an ancient parchment. The", "TWO RIDERS\n Throwing a STEEL CHAIN to the other, pulling the line taut,\n ready to take him out. Approaching fast.\n\n PRIEST", "(BEAT)\n Remember your vow: \"To go against the\n Church is to go against God\".\n\n 0\n The officers start to lead Priest and Koeppen out the chamber,", "The warriors lock eyes, knowing something's been started --\n but.unsure of what.\n They head down the stone steps.", "hunched like a rat, talons ferociously . digging, into: rock.\n Coordinating an attack wordlessly, the Priests make their move:", "INT. CATACOMB - SAME\n\n The two warriors eye each other, the. air heavy between them.", "(TOASTING RUEFULLY)\n \"To go against the Church is to go\n against God'.", "TEN TROOPERS IN FULL RIOT GEAR STORM IN\n Jackboots CLACKING, they form a circle around Priest and", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "(SMILES)\n Now it's your turn.\n Almost imperceptibly the two make a shift in their postures,\n the tension between the two warming up. Two warriors\n steeling for a fight.", "PRIEST\n Thank you for meeting with me on such\n short notice, Monsignors.\n Even the Monsignors are uneasy'around Priest. Their leader,\n ORELAS, leans forward, addressing him.", "THEIR REACH:\n Priest studies the sky and all at once...he knows.\n\n PRIEST\n No, they're not.", "HICKS\n This ain't done.\n He lowers his gun and walks away.\n The two warriors stand together, the Priestess gazing at", "the others, he's smiling, enjoying the action.\n As a cohesive unit, the Priests, climb up from the trench,\n scaling through the muck. They find themselves at the base", "Giant shafts of moonlight hit a marbled floor.\n Priest and Father Koeppen are led by FOUR OFFICERS before A", "PRIEST\n Slowly makes his way down the aisle, bruised and bloodied,\n his very presence a direct affront to this place. A woman\n GASPS, somebody faints.", "THE OTHER FOUR RIDERS\n Circle Priest, surrounding him, the ROAR of their engines\n like massive power drills." ], [ "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "hornets. Disturbed.\n WHOOSH! One of the figures SWOOPS low, touching to the\n ground. Giving us our first good look at a vampire;", "HICKS\n Shit.\n With a WAIL, the vampires quickly scramble from their coffins,", "Their bodies lock in a horrible struggle, rolling across the\n Familiars. The Vampire's claws CHURNING into their bodies,\n killing them instantly.", "followed.\n (spits, a wad of tobacco)\n 'Course we both know after a week, girls\n taken by vampires either and up dead or", "LEAD VAMPIRE\n Look at us -- Living in ruin, forced to\n feed off the blood of animals. We once\n scoured 'this land. We were warriors...we\n were Gods!", "(BEAT)\n You Priests did too good a job. The\n vampire population is classified as\n endangered. They're protected.", "A shadow of what they once. were.\n Through heavy smoke, we see a pile of VAMPIRE CORPSES, a\n ragged collection of fangs and claws.", "(BEAT)\n Why would they?\n She nods towards the bodies, we now see tb=1re.-VAMPIRZ-\n\n CORPSES.", "HICKS W. 0.\n This is what's known: There has always\n been man...and there have always been\n vampires.", "Wet, white skin.\n Insect clicking claws.\n Black eyes.\n Fangs.\n More creature than human.", "HICKS\n (under his breath)\n Jesus.\n Another VAMPIRE careens towards him. Coming in low, crawling", "A HORRENDOUS SCREECH fills the air.\n Led by the Purebloods, HUNDREDS OF VAMPIRES fly out from", "The vampire cackles, sounds like dried paper, its voice a\n series of teeth clicking hisses. as it eyes Priest angrily.", "HICKS (CONT'D)\n Since the beginning -- the two have been\n locked forever in combat... The vampires", "HXCKS (V.0.) (CONT'D)\n And so it went like this over many years.\n As man and vampire both evolved -- the", "HICKS LOOKS BEHIND HIM\n DOZENS OF VAMPIRES ARE NOW AWAKE. Sitting up in their", "THE VAMPIRE RIDERS\n Take the bait, going for Priest. They gun their cycles,\n engines.WHINING as they rev forward, their LEADER unleashing", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the" ], [ "Their bodies lock in a horrible struggle, rolling across the\n Familiars. The Vampire's claws CHURNING into their bodies,\n killing them instantly.", "10 PRIEST (CONT'D)\n No more masters. Just you and me.\n He raises a knife, pressing it to the Familiar's skin.", "hissing.\n Two more FAMILIARS run in and grab her arms, wrestling her to\n the floor. She struggles furiously but it's no use, she", "PRIEST\n No need. He'll the at first light.\n Priest goes to the Familiars still lying on the ground.", "CRYPT FAMILIAR\n (hissing).\n Got Got You must got Master will be\n angry!", "THE NIGHTSHADE FAMILIARS\n About ten of them. Real Night Of The Living Dead stuff.\n Makeshift weapons in their hands:. Scythes, Slingblades,\n Buzzsaws.", "the floor.\n She makes a run for it. But the Familiar manages to grab her\n ankle.knocking her down, she kicks at him as he holds fast,", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "heel strike, knocking the Familiar out instantly.\n Hicks pulls the knife out, blood flowering across his shirt\n as the vampires continue to PUMMEL the door behind, him.", "A BUZZSAW BLADE\n knifes through the air heading straight for him. He DUCKS,\n the blade whistling past, sawtoothing into the torso of\n another Familiar.", "PRIEST (CONT'D)\n Now we can do this easy --\n He tosses the BUTCHER KNIFE, it sticks in the ground a\n hairline from a Familiar's head.", "PRIEST (CONT'D)\n Where is she?\n\n THE FAMILIAR", "hornets. Disturbed.\n WHOOSH! One of the figures SWOOPS low, touching to the\n ground. Giving us our first good look at a vampire;", "LUCY\n Thank you.\n The Familiar turns to leave.\n WHAPI Lucy SLAMS the tray over his head and he collapses to", "FAMILIAR\n (frightened beyond belief)\n -- The metal beast! She's in the metal\n beast!\n\n PRIEST\n Make 'sense.", "followed.\n (spits, a wad of tobacco)\n 'Course we both know after a week, girls\n taken by vampires either and up dead or", "the wood floor, smatterings of blood around the edges. It's\n not very big, just enough for a small body to fit through.\n The Familiar sticks his head through the opening and -,-", "PRIEST\n Wh re is she?\n\n CRYPT FAMILIAR\n\n (SOBBING)\n Please. Please don't hurtmy Master.", "HICKS\n Then you won't mind if we have a look\n around?\n The Familiar picks up another chicken. Raises the butcher\n knife." ], [ "pockets with your hard earned money.\n Much shuffling amongst the people -- they trust in their\n sheriff but they're frightened. An older man named, CROCKER,", "AARON\n Sheriff.", "HICKS\n Easy now old timer. I'm a sheriff.\n The old man snorts, spitting a thick stream of tobacco,. it\n sizzles when it hits the dust.", "PRIEST (0.S.\n It's alright. Let him in.\n Eyeing Priest, Aaron lets the Sheriff in, shutting the door", "FAMILIAR\n Good afternoon, Sheriff... Father. What\n brings you to Nightshade?", "nearby stream, the wear and tear of their journey evident on\n the sheriff's face.\n Priest lies close by, asleep.", "PRIEST\n I'm not so sure anymore.\n There's a KNOCK at the door. Aaron opens it slightly. It's\n Sheriff Hicks.\n\n HICKS\n Aaron.", "HICKS\n Lucy, my name is Sheriff Hicks...I'm here\n to take you home.\n No response. She seems almost catatonic. He reaches into\n his pocket, pulling out her photograph, showing it to her.", "INT. SHERIFF'S STATION - A FEW MINUTES LATER", "HICKS\n I'll start with the sheriff.", "SNAKE OIL SALESMAN\n He was meetin' with the local sheriff. A\n real shitkicker -- Booted me out of town", "PRIESTESS\n You should try harder, sheriff.\n She cups her hand in the water, bringing it to her lips for a\n drink. Hicks smiles, leaning forward, something on his mind.", "81.\n\n FEARSOME PRIEST", "OLD MAN\n Ain't no law out here but my own.\n Calm and cool, Priest shifts in his seat, drawing his gaze.", "O\n Priest looks at the object -- It's Hicks' sheriff's badae.\n Five points glowing brightly in the candlelight.", "Priest keeps coming, the wind blowing harder as he\n approaches. A feeling of inevitability.\n Hicks stands his ground, cocking his gun.", "AARON\n I can't thank you enough for what you've\n done, sheriff.\n\n T I", "FIGURE'\n Bless me Father for I have\n sinned...again.\n The voice is like gravel from the bottom of a deep well.\n Quietly commanding. Koeppen knows it well.", "CLERK\n Good afternoon, sir! How may I be of\n service?\n\n PRIEST\n I need bullets.\n\n CLERK\n How many?", "FEARSOME PRIEST (CONT'D)\n Guess not.\n From within the hive comes a MIGHTY SHRIEK -- and now" ], [ "PRIEST (0.S.\n It's alright. Let him in.\n Eyeing Priest, Aaron lets the Sheriff in, shutting the door", "EXT. TIT' SHACK - LATER\n\n The boys mounting up their bikes, about to head out. The old man\n approaches Priest.", "PRIEST\n I'm not so sure anymore.\n There's a KNOCK at the door. Aaron opens it slightly. It's\n Sheriff Hicks.\n\n HICKS\n Aaron.", "He stands over both of them, eager for a response. Priest\n takes a sip, grimaces, tries his best to smile but fails\n hideously.", "Priest keeps coming, the wind blowing harder as he\n approaches. A feeling of inevitability.\n Hicks stands his ground, cocking his gun.", "PRIEST\n He knows.\n\n PRIESTESS\n He'll try to stop you.", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "He turns to her, wanting to comfort her but not knowing how --\n She flinches and runs away, disappearing into the street.\n A BEAT as Priest pries the butcher blade from the hand,", "The townspeople mutter amongst themselves. Hicks looks over\n to Priest, a GROUP OF CHILDREN have already gathered,.\n pointing and whispering at him.", "And now Hicks turns -- points his revolver at Priest.\n Catching both he and the Priestess by surprise.", "shut, locking them in. They BASH against the door, SHRIEKING\n horribly, the chamber now an oven.\n Priest presses against the door, it SPLINTERS all around him,", "PRIEST\n What happens next happens fast:\n Priest GRABS Hicks, folding his body around both he and Lucy,", "nearby stream, the wear and tear of their journey evident on\n the sheriff's face.\n Priest lies close by, asleep.", "PRIEST\n You said the next nearest town was\n Jericho.\n\n HICKS\n Yeah.\n\n PRIEST\n Then we better go see.", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "Priest looks around the room -- FAMILIES AND HOMELESS huddle\n at the surrounding tables, terrified.\n There's only one thing left for him to do.", "our two Priests reach for him but it's too late ...He\n disappears into the darkness as we CUT BACK TO:", "The two are silent, grimly going about their task -- It's\n obvious the skirmish has affected Hicks. Priest notices.", "PRIESTESS\n You should try harder, sheriff.\n She cups her hand in the water, bringing it to her lips for a\n drink. Hicks smiles, leaning forward, something on his mind.", "Priest.\n But he's gone.\n Off her reaction we CUT TO:" ], [ "you. Lucy too. She was always asking\n about you.\n Uncomfortable with the conversation, Priest pulls out a map,\n unrolling it onto the wooden table. He moves his finger", "LUCY\n My uncle's a Priestl one of the best.\n Hooll corns after youl\n The Figure laughs. Bending down to her level --", "PRIEST\n (reaching for Lucy)\n Give her to me! Hurry!", "PRIEST\n What happens next happens fast:\n Priest GRABS Hicks, folding his body around both he and Lucy,", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "She sees Hicks and Priest-on top of the train, Lucy with them.\n Taking one last look at Priest -- she smiles.\n And spreads her arms open.", "Screeching, ANOTHER VAMPIRE makes it through the opening,\n Hicks quickly taking him down in one crack shot.\n He picks Lucy up, handing her to Priest.", "PRIESTESS (CONTIB)\n I'm going for the engine. Find Lucy.\n (about to speed off, stops)", "PRIEST\n Shoot me and it won't matter if you find\n Lucy. You won't stop that train -- and\n you won't save her.\n The Priestess steps between them, looks at Hicks.", "Priest.\n But he's gone.\n Off her reaction we CUT TO:", "MONSIGNOR ORELAS\n On what grounds?\n Priest is taken aback.\n\n PRIEST\n She's my blood, Monsignor.", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIESTESS\n Could be one of those nights?\n She smiles.\n And then Priest does the most amazing thing. . .he smiles back.", "PRIESTESS\n She's his bloodline... and he's a Priest.\n It's the only way.", "PRIEST\n .Me too.\n She reaches up, placing her hand on his chest.", "EXT. TRAIN CONTINUOUS'\n\n They work their way up the side, making it to the roof,\n exhausted. Priest carrying the still unconscious Lucy.", "From outside,.:the sound of a padlock opening, a chain\n dropping to the floor. Lucy quickly sits, making innocent.\n A SERVANT FAMILIAR enters, carrying a tray of food, his eyes", "PRIESTESS\n What?\n\n PRIEST\n It's a riddle.\n The Priestess thinks about it.", "Priest GUNS the engine. Hicks and Lucy watching as he blazes\n towards the Cities, the sky above the color of hellfire.", "48.\n\n LUCY (CONT'D)" ], [ "The vampire cackles, sounds like dried paper, its voice a\n series of teeth clicking hisses. as it eyes Priest angrily.", "PRIEST\n Yes, sir.'\n\n MONSIGNOR ORELAS\n I said do I make myself clear,. Father.\n\n PRIEST\n Yes, Monsignor.", "Priest wrenches around and the two go at it. A fierce, feral\n battle. The Vampire's fangs chattering inches from his neck.", "MONSIGNOR ORELAS\n On what grounds?\n Priest is taken aback.\n\n PRIEST\n She's my blood, Monsignor.", "PRIEST\n Better to keep it contained.\n The vampire's lathered into an animal frenzy now, wailing and", "PRIEST\n But Monsignor...they are the enemy.\n\n MONSIGNOR ORELAS\n Were.the enemy. The war ended a long\n time ago.", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the", "THE MONSIGNORS\n Shed their robes, revealing fresh BITE MARKS on their necks.\n Orelas' new-found fangs glint in the candlelight.", "PRIEST\n Emerges through the hole, exhausted, the LEAD VAMPIRE'S HEAD in\n his hand dangling by its hair.", "PRIEST (CONT'D)\n\n FOCUS.\n And with that he's gone, rolling across the ground like a\n boulder and LEAPING at TWO DARTING VAMPIRES.", "PRIEST\n Killing a vampire isn't like killing a\n man. They come at'you like an animal.\n Tooth for tooth.\n\n .(MORE)", "PRIEST\n I know you're there.\n A slight sound, the mist whipping into a pool as if something\n just moved through it. Priest quickly turns but there's\n nothing there.", "PRIEST\n Thank you for meeting with me on such\n short notice, Monsignors.\n Even the Monsignors are uneasy'around Priest. Their leader,\n ORELAS, leans forward, addressing him.", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "HICKS\n You're teaching me to shoot?\n\n PRIEST\n I'm teaching you to kill vampires. No\n more wild shots --", "PRIEST\n If I was a vampire you'd be dead already.\n The cross tattoo, a striking image. Hicks stares, pushing\n his hat back on his forehead.", "HICKS\n Thought you'd come back for a souvenir,\n hub? You gotta be the dumbest\n bloodsucker I ever come across.\n Priest steps into a pool of moonlight, illuminating his face.", "115.\n Priest streaks into the night, bathed in moonlight,\n desolation opening around him.\n He disappears into the emptiness.\n\n CUT TO:", "here too much -- \"Specially no Priest.\n 'Course we ain't never had no vampire\n attack in.these parts before.\n (eyeing Priest.)", "Screeching, ANOTHER VAMPIRE makes it through the opening,\n Hicks quickly taking him down in one crack shot.\n He picks Lucy up, handing her to Priest." ], [ "As the Priestess and Hicks enter the chamber, Hicks coughs,\n reeling from the smell, the Priestess wrapping a cloth around", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIESTESS\n What?\n\n PRIEST\n It's a riddle.\n The Priestess thinks about it.", "Carrying a torch, the Priestess. leads Priest and Hicks\n through the maze, the deeper they go the more subterranean it\n feels. Bowels of the earth.", "THE PRIESTESS\n Lies before it. Somehow not a scratch on her...But\n something's wrong -- something inside her broken, something", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "The Priestess races by, shooting him a we don't have time\n for this' look. He STOPS her, grabbing her shoulder", "pulling out the object. Quickly, she tosses it into a'barrel\n of water. it hisses, steam rising as it cools.\n Priest reaches into the barrel, his hand emerging with a", "Immediately the Priestess drops beside Priest, joining him --\n And it is only now that we get a good look at the crucifieds'", "PRIEST\n sees him but chooses to stay with the Priestess, brushing the\n hair from her face.", "a chain, swirling it above his head.\n With a SNAP he lashes it at Priest, the chain catching in his\n wheel, the sound of metal grinding as", "O\n as the world seems to hold its breath then --\n Priest lands in a crouch, dropping next to the Priestess, her\n hands still locked in the prayer position. She turns to him.", "PRIESTESS\n I don't know...but it's not like the\n others.\n They're interrupted by the sound of GUNFIRE echoing off the\n tunnel walls. Priest turns.", "PRIEST\n Slowly makes his way down the aisle, bruised and bloodied,\n his very presence a direct affront to this place. A woman\n GASPS, somebody faints.", "PRIEST\n .Me too.\n She reaches up, placing her hand on his chest.", "And now Hicks turns -- points his revolver at Priest.\n Catching both he and the Priestess by surprise.", "PRIESTESS (0.8.)\n They used to.\n The Priestess steps out from behind Priest. Startling Hicks.", "The Trio BLAST down the rock face, descending down the mountain\n at a furious clip. The Priestess looks at the train off in the", "PRIEST\n Leaps from below, darting up the rock, taking advantage of\n the distraction, landing on the creature's back and wrapping", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to." ], [ "HICKS (CONT'D)\n Since the beginning -- the two have been\n locked forever in combat... The vampires", "(SMILES)\n Now it's your turn.\n Almost imperceptibly the two make a shift in their postures,\n the tension between the two warming up. Two warriors\n steeling for a fight.", "PRIEST\n But Monsignor...they are the enemy.\n\n MONSIGNOR ORELAS\n Were.the enemy. The war ended a long\n time ago.", "eyes. Every inch a warrior.\n Time seems to stop for these two. Their whole dark history\n their bend -- passing between them in one glance.", "were quicker, stronger and had the gift\n of flight.\n Quick glimpses of a bloody, brutal battle. Men screaming.", "OLD MAN\n Don't know, too many to count. Hundreds.\n Thousands. Some nights the sky was so", "RUNE (CONT'D)\n I never cared about your war. Never got\n Involved. Us halfbreeds. We were", "flesh. One of the chosen.. Touched by\n His very ha nd so peace could finally come\n to this cur sed land.\n Hicks snorts.", "HICKS W. 0.\n This is what's known: There has always\n been man...and there have always been\n vampires.", "AARON\n You never talked much about the war\n but I know you saw things. Bad things.\n\n PRIEST\n Yes.", "The warriors lock eyes, knowing something's been started --\n but.unsure of what.\n They head down the stone steps.", "ORELAS\n And why shouldn't we live forever?\n\n (HISSES)\n We're God's very voice. His vessel!", "LEADER\n This ain't the war no more. You got no\n right meddlin'.\n\n (BEAT)\n You don't belong here -- You ain't one of\n us.", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "(LAUGHS)\n A Priest! Well, lookie here.. We got us\n a real life war-hero boysl Heard you\n guys were real baddasses.\n The Workers all pull out large knives.", "2.\n Stands at the base of one of the mammoth pyres. Even from\n this angle we sens e his quiet dignity.", "PRIEST\n Not so long that we should forget what\n they are capable of.", "So is his hand.\n Priest holds the severed limb, its fingers still clutching\n the blade. The Leader collapses, a Holy Shitl expression", "THEIR REACH:\n Priest studies the sky and all at once...he knows.\n\n PRIEST\n No, they're not.", "ATOP THE CASTLE WALL\n Priest and the Priestess stare out at the Wasteland,\n uncomfortable with looking at each other.\n\n PRIEST\n This was a Pureblood." ], [ "OLD MAN (CONT'D)\n Beautiful place. Wonder of the world. I\n used to watch `em every night, takin' to\n the sky in all of God's glory,", "Designed so one can move between the cars without exposure to\n the sun, making the train a world of eternal midnight.\n Carefully, Hicks opens the next compartment's door.,.", "We see a MASSIVE WALL -- A hundred feet high, surrounding the\n city. Priest pulls up to a CHECKPOINT TOWER. A PHALANX OF", "withering... quickly becoming nothing more than husks.\n Floating black kites.\n Hicks and Priest stand, surrounded by the epic destruction,", "metal and heat fused into a superpowered nightmare. The hull\n completely covered. Impervious.", "(ALARMED)\n What's going on?\n Aaron doesn't answer, Shannon helping him position pre-cut\n planks across every window and door. Each with an iron-cross\n strut for support", "They BOUNCE harmlessly off the creature's wings, knifing back\n to the ground, imbedding deep in the stone, Priest having to\n nimbly: dodge his own weaponry.", "THE CITIES.\n And it is only now that we see exactly what Priest means.\n THICK CLOUD OF INDUSTRIAL SMOKE covers the metropolis.\n There is no sun.", "INT. STEEL ENCLOSURE - CONTINUOUS\n\n and manages to SLAM the door behind him just in time as the\n hungry beings CRASH against itl", "(BEAT)\n And the few surviving Priests faded Into\n quiet obscurity.\n The chamber is closed. We see an encrusted key turning in a\n heavy set lock and we --", "THEIR REACH:\n Priest studies the sky and all at once...he knows.\n\n PRIEST\n No, they're not.", "THE GIANT GOLD CROSS\n Breaks from the wall with a GROAN, PLUMMETING towards them.\n Black Hat stops, his eyes snapping upward.\n At the last second --", "Then the worst sound of all. Wood being torn apart.\n BLAM! BLAN! Aaron SHOOTS like crazy, the white light MUZZLE", "2.\n Stands at the base of one of the mammoth pyres. Even from\n this angle we sens e his quiet dignity.", "Before they can react, he throws the knives into their feet.\n They HOWL, pinned to the concrete.\n Scared, the leader clutches the girl, pressing against the", "BLACK HAT\n They taught us God created man in His\n image. . .but they lied. Man created God", "Aaron watches,. silently. A GROUP OF TOWNSPEOPLE encircle the\n grave. Everyone wearing black goggles for protection from\n the swirling dust.", "were quicker, stronger and had the gift\n of flight.\n Quick glimpses of a bloody, brutal battle. Men screaming.", "Hicks looking up to see the light; from the hole in the\n geilingwinkinc_out. The sun is setting.\n Slipping, he drops the piece og glass, cutting his finger.\n Drawing blood.", "She reaches into her pack and lugs out a CROWBAR, pulling up\n to the beast and managing to stick it between the pistons\n hoping to jam up the works." ], [ "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "EXT. TIT' SHACK - LATER\n\n The boys mounting up their bikes, about to head out. The old man\n approaches Priest.", "out as the door rolls open, glaring at Priest, disappearing\n down a dark corridor.\n And only now does Priest answer.", "THE MAN'S EYES WIDEN\n Seeing Priest clearly now for the first time.", "Priest keeps coming, the wind blowing harder as he\n approaches. A feeling of inevitability.\n Hicks stands his ground, cocking his gun.", "PRIEST\n Slowly makes his way down the aisle, bruised and bloodied,\n his very presence a direct affront to this place. A woman\n GASPS, somebody faints.", "PRIEST\n .Me too.\n She reaches up, placing her hand on his chest.", "A BOY AND HIS MOTHER wait too. The boy stares at Priest,\n fascinated, his mother doing her best to pretend not to\n notice him.", "Priest.\n But he's gone.\n Off her reaction we CUT TO:", "AARON\n comes through, looking older than the last time we saw him.\n Seeing Priest, his face cracks, smiling for the first time in\n days.", "PRIEST\n I know you're there.\n A slight sound, the mist whipping into a pool as if something\n just moved through it. Priest quickly turns but there's\n nothing there.", "97.\n Black Hat calmly approaches, his foot dangerously close to\n Priest's hand. The landscape below-whipping past at an\n incredible speed.", "(HISSING)\n Another time, Priest.\n He skitters up the rock face, disappearing into the mist.", "14.\n\n INT. PRIEST'S APARTMENT - MOMENTS LATER", "PRIEST\n No need. He'll the at first light.\n Priest goes to the Familiars still lying on the ground.", "He stands over both of them, eager for a response. Priest\n takes a sip, grimaces, tries his best to smile but fails\n hideously.", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "115.\n Priest streaks into the night, bathed in moonlight,\n desolation opening around him.\n He disappears into the emptiness.\n\n CUT TO:", "But Priest only lifts the man's head, studying his neck.\n He's clean.\n And without a single word -- Priest just walks away.", "Hicks, done searching, meets up with the Priestess in the\n middle of the street, he's pretty disturbed. Wind howling\n around him." ], [ "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIEST\n Slowly makes his way down the aisle, bruised and bloodied,\n his very presence a direct affront to this place. A woman\n GASPS, somebody faints.", "OLD MAN (CONT'D)\n Suit yourself.\n Priest still doesn't know what to make of the man but he\n senses something to be gained. He tries changing the subject.", "He stands over both of them, eager for a response. Priest\n takes a sip, grimaces, tries his best to smile but fails\n hideously.", "PRIEST\n Where?\n He draws one final X at the end of the line. Looks up.", "PRIEST\n Stares into his eyes and --\n Something passes between them something so strong and\n personal it transcends emotion.", "PRIEST\n .Me too.\n She reaches up, placing her hand on his chest.", "EXT. TIT' SHACK - LATER\n\n The boys mounting up their bikes, about to head out. The old man\n approaches Priest.", "Unable to sleep, Priest sits on the edge of his bed. Praying.\n There's a knock at the door.\n\n PRIEST\n Who is it?", "A BOY AND HIS MOTHER wait too. The boy stares at Priest,\n fascinated, his mother doing her best to pretend not to\n notice him.", "Priest.\n But he's gone.\n Off her reaction we CUT TO:", "But Priest only lifts the man's head, studying his neck.\n He's clean.\n And without a single word -- Priest just walks away.", "(HISSING)\n Another time, Priest.\n He skitters up the rock face, disappearing into the mist.", "out as the door rolls open, glaring at Priest, disappearing\n down a dark corridor.\n And only now does Priest answer.", "13.\n\n PRIEST", "Priest keeps coming, the wind blowing harder as he\n approaches. A feeling of inevitability.\n Hicks stands his ground, cocking his gun.", "PRIEST\n I'll be there.\n Nothing more needing to be said, Hicks turns to walk out,\n stops at the door.", "Priest sits alone, rosary beads clutched in his hands. He\n looks up to find Koeppen, the old man staggering as he downs", "KOEPPEN (CONT'D)\n Ask yourselves -- Where am I going?\n At this, Priest turns, the question catching him as well.\n And it's only now he realizes --\n He has no answer.", "PRIEST\n I know you're there.\n A slight sound, the mist whipping into a pool as if something\n just moved through it. Priest quickly turns but there's\n nothing there." ], [ "Wet, white skin.\n Insect clicking claws.\n Black eyes.\n Fangs.\n More creature than human.", "possible. The interiors of the coffins are dark, hard to see\n what's lying inside, just that horrible breathing sound.\n As Hicks moves past, his body brushes the wood, the space so", "(BEAT)\n Why would they?\n She nods towards the bodies, we now see tb=1re.-VAMPIRZ-\n\n CORPSES.", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "surgical masks over their mouths. There's a pale, sickliness\n to them. Malignant.\n The Figure suddenly stops. He cocks his bald head --", "(BEAT)\n A shame he'll never see what you'll\n become. I would've loved to see his face.\n And then he is upon her, saliva mixing with blood as he drinks.", "Lucy's covers her mouth, her nails an ugly bloody mass.\n She's come this far, time to go the rest.\n She manages to carefully crawl from joist to joist, moving", "across the ground on all fours. Fangs dripping.\n Hicks FIRES off a mess of bullets, peppering the creature as\n it flails backwards screeching. He snaps out the empty", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "followed.\n (spits, a wad of tobacco)\n 'Course we both know after a week, girls\n taken by vampires either and up dead or", "withering... quickly becoming nothing more than husks.\n Floating black kites.\n Hicks and Priest stand, surrounded by the epic destruction,", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "HICKS\n Shit.\n With a WAIL, the vampires quickly scramble from their coffins,", "A shadow of what they once. were.\n Through heavy smoke, we see a pile of VAMPIRE CORPSES, a\n ragged collection of fangs and claws.", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "HICKS\n (under his breath)\n Jesus.\n Another VAMPIRE careens towards him. Coming in low, crawling", "Their bodies lock in a horrible struggle, rolling across the\n Familiars. The Vampire's claws CHURNING into their bodies,\n killing them instantly.", "Before they can react, he throws the knives into their feet.\n They HOWL, pinned to the concrete.\n Scared, the leader clutches the girl, pressing against the", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the", "7.\n We hear the Riders crawling over the outside of the house.\n Snarling, howling, making terrifying sounds." ], [ "PRIESTESS\n He's right. We need to be together on\n this... it's the only shot we have.\n Hicks thinks about it, knows she's right. A tense beat then", "PRIESTESS (0.8.)\n They used to.\n The Priestess steps out from behind Priest. Startling Hicks.", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "IT'S PRIEST\n He sticks his head through the opening, having been drawn by\n the sound of gunfire. Hicks can't believe it.", "PRIEST\n Hicks.\n He starts down the tunnel. The Priestess quickly following.\n\n INT. STAIRS LEADING INTO THE CATACOMB - NIGHT", "PRIESTESS\n Yes.\n She nods, though in affirmation of what Hicks's isn't sure.\n He watches her as she stares'into the fire. We FADE TO BLACK:", "HICKS\n And how many of you Priests are left now?\n A long moment before she speaks.\n\n PRIESTESS\n Two.\n Hicks doesn't know what to Say-,,", "33.\n Priest nods, his brother's eyes burning into him. Hearing the\n sound of an engine, both men turn to find Hicks pulling up.", "PRIESTESS\n Be careful. Just because it's daylight\n doesn't mean it's safe.\n Hicks nods, tightening the twin BANDOLEERS across his chest.", "As the Priestess and Hicks enter the chamber, Hicks coughs,\n reeling from the smell, the Priestess wrapping a cloth around", "Carrying a torch, the Priestess. leads Priest and Hicks\n through the maze, the deeper they go the more subterranean it\n feels. Bowels of the earth.", "PRIEST\n Stay here. If anything comes up the\n steps that isn't me -- Shoot it.\n Before Hicks can reply,.Priest heads down the stairs, darkness\n swallowing him with every step.", "PRIEST\n Not yet.\n With a HORRIBLE SCREECH the Familiars attack, LAUNCHING at\n Priest and Hicks. Blades in the air.", "PRIEST\n Shoot me and it won't matter if you find\n Lucy. You won't stop that train -- and\n you won't save her.\n The Priestess steps between them, looks at Hicks.", "Priest disappears with her, Hicks climbing down behind just\n as -- the chain finally SNAPS and the door BURSTS open with\n screeching vampires!", "PRIESTESS\n -- What they left of it.\n PUSH IN ON HICKS -- knots of rope tightening in his\n stomach... only now realizing how truly black the path before\n him will be.", "PRIEST\n What happens next happens fast:\n Priest GRABS Hicks, folding his body around both he and Lucy,", "And now Hicks turns -- points his revolver at Priest.\n Catching both he and the Priestess by surprise." ], [ "PRIEST\n By murdering innocents?\n\n BLACK HAT\n By drawing a once great race back to\n their\"nature. By helping them discover'\n the mastery within themselves.", "BLACK HAT\n \"And the third day He shall rise again.\n Priest can't believe it, seeing his long dead comrade, his\n face etched with shock, all he can do is ask --", "110.\n Priest coughs up blood. Black Hat smiles, wrapping a hand\n around Priest's. throat, LIFTING him off the floor, SQUEEZING\n the life from him,", "97.\n Black Hat calmly approaches, his foot dangerously close to\n Priest's hand. The landscape below-whipping past at an\n incredible speed.", "PRIEST\n .How?\n Black Hat smiles, baring hi fangs.", "PRIEST\n WRENCHES himself from,Black Hat's grip, tumbling. across the\n floor.\n WHAPI The cross S LM onto Black Hat, pulverizing hi !", "BLACK HAT\n Me.\n Something in the distance catches Priest's eye, a BLACK SPEC\n on the horizon -- It's The Cities. His jaw tightens, he\n knows there isn't much time.", "BLACK HAT\n Oh ye of little faith.\n The understanding hits Priest immediately, crashing over him\n like a wave.\n\n PRIEST\n .They turned you.", "BLACK HAT\n Lost souls abandoned by divinity. No\n belief, no voice to guide them through\n the wilderness. Sound familiar?\n Priest doesn't reply, warily eyeing him.", "BLACK HAT (CONT'D)\n Who do you fight for, Priest? The\n Order's collapsed. The Church nothing\n but a line of decrepit, ruined old men.\n Charlatans.", "PRIEST\n Sends him sailing through the air, Black Hat crashing into a\n collection of CANDLE HOLDERS, an ancient TAPESTRY catching", "HALLUCINATING --\n IT'S BLACK HAT. He looks down at Priest, bowing with a\n slight flourish.", "BLACK HAT\n A Priest?", "BLACK HAT (CONT'D)\n \"And all hell followed with him.\"\n He raises his head back, ready to sink his teeth. Priest too\n exhausted to fight back. This is it.\n Prom a b= --", "BLACK HAT (CONT'D)\n it's better to be with your enemies than\n to be alone, Priest. Humanity had its\n chance.", "BLACK HAT\n Your faith has failed you Priest.", "BLACK HAT\n No, Priest...I turned them.\n He smiles wider as we CROSSCUT TO:\n\n INT. VAMPIRE TRAIN - SAME TIME", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "Priest and Black Hat eye each other, landscape whipping past\n at a furious rate, the train blasting along the tracks.", "BLACK HAT\n I'm absolutely counting on it.\n And now we get our first look at her captor. A cross tattoo\n h s adows his face.\n The mark of the Priest." ], [ "PRIEST\n You said the next nearest town was\n Jericho.\n\n HICKS\n Yeah.\n\n PRIEST\n Then we better go see.", "The townspeople mutter amongst themselves. Hicks looks over\n to Priest, a GROUP OF CHILDREN have already gathered,.\n pointing and whispering at him.", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "PRIEST\n Sundown.\n Hicks looks up at the sky. The sun tilting towards the\n horizon.\n\n CUT TO:", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "Hicks, done searching, meets up with the Priestess in the\n middle of the street, he's pretty disturbed. Wind howling\n around him.", "Astride their bikes, Priest and Hicks, look down at a valley.\n A SERIES OF ADOBES sit clustered in the basin. CRYPTS.", "Priest and Hicks move through the reservation looking for\n clues. Priest goes to the nearest structure, TWO EYES peer\n from a tiny slat. The CRYPT'S FAMILIAR.", "PRIESTESS\n -- What they left of it.\n PUSH IN ON HICKS -- knots of rope tightening in his\n stomach... only now realizing how truly black the path before\n him will be.", "Priest and Hicks enter engines idling, flocks of chickens run\n riot underneath their tires CLUCKING. wildly. Crumbling\n structures. Squalor.", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "HICKS (CONT'D)\n We leave at sun up.\n Priest turns. A moment as each man studies the other.\n\n PRIEST\n Why?", "PRIESTESS (0.8.)\n They used to.\n The Priestess steps out from behind Priest. Startling Hicks.", "The two are silent, grimly going about their task -- It's\n obvious the skirmish has affected Hicks. Priest notices.", "PRIEST\n Not until we stop the trains\n But now Hicks isn't even looking at him, his attention caught\n up in the horrible sight waiting ahead of them.\n\n HICKS", "PRIEST\n Hicks.\n He starts down the tunnel. The Priestess quickly following.\n\n INT. STAIRS LEADING INTO THE CATACOMB - NIGHT", "As the Priestess and Hicks enter the chamber, Hicks coughs,\n reeling from the smell, the Priestess wrapping a cloth around", "HICKS\n Don't make no sense. What were they\n doin' out here?\n\n PRIESTESS\n The same thing as us.", "HICKS\n And how many of you Priests are left now?\n A long moment before she speaks.\n\n PRIESTESS\n Two.\n Hicks doesn't know what to Say-,,", "And now Hicks turns -- points his revolver at Priest.\n Catching both he and the Priestess by surprise." ], [ "HICKS\n Sounds like a bunch of religious mumbo\n jumbo to me.\n The old man stares fixedly at Priest.", "And now Hicks turns -- points his revolver at Priest.\n Catching both he and the Priestess by surprise.", "HICKS (CONT'D)\n We leave at sun up.\n Priest turns. A moment as each man studies the other.\n\n PRIEST\n Why?", "HICKS\n It doesn't have to be like this.\n Priest just stands, staring.\n Hick's hand curls around the revolver.\n Priest looks to the cabin, the challenge hanging in the air", "away. HOLD ON HICKS -- Eyes stinging, he watches Priest.\n Finally he starts his bike, following.", "HICKS\n Tell me you won't kill her.\n Priest doesn't reply.", "79.\n Hicks glances at Priest.", "HICKS\n Why? You gonna shoot me now?\n Priest's stare is piercing. A pause then Hicks pulls his six", "PRIEST\n I'll be there.\n Nothing more needing to be said, Hicks turns to walk out,\n stops at the door.", "HICKS\n Where's Priest?", "HICKS\n What?\n\n PRIEST\n Give me your gun.", "HICKS\n You knew they wouldn't make it.\n A long time before Priest answers.", "PRIESTESS\n He's not so bad once you get to know him.\n A beat, Hick's expression becoming serious.", "Priest keeps coming, the wind blowing harder as he\n approaches. A feeling of inevitability.\n Hicks stands his ground, cocking his gun.", "PRIEST\n What happens next happens fast:\n Priest GRABS Hicks, folding his body around both he and Lucy,", "HICKS\n And what is that? Some special Priest\n code of honor? You don't get it. Your\n \"way' -- It's over!", "HICKS\n He's going to kill her, isn't he? If.\n she's turned.\n\n PRIESTESS\n Yes.", "PRIEST\n Not until we stop the trains\n But now Hicks isn't even looking at him, his attention caught\n up in the horrible sight waiting ahead of them.\n\n HICKS", "PRIEST (CONT' D)\n I take no pleasure in it. Killing. I\n know I've done more than my share --\n Whatever they do to me I have it coming.\n\n HICKS", "Hicks FIRES!\n But Priest is pone.\n Hicks looks around --\n There's no sign of him, not even the bike." ], [ "BLACK HAT (CONT' D)\n But you know that now.\n\n CROSSCUT TO:\n\n EXT. TRAIN - SAME TIME", "76.\n Black Hat eyes him.", "BLACK HAT\n What do you want for her?\n And now her captor lifts his hat -- revealing paper-thin\n skin, eyes like black coal. This is RUNE, a bounty hunter.", "97.\n Black Hat calmly approaches, his foot dangerously close to\n Priest's hand. The landscape below-whipping past at an\n incredible speed.", "BLACK HAT (CONT'D)\n Lack of faith. That's what I found in my\n new brethren And so it was I\n discovered my true calling -- To teach.\n To lead.", "96.\n Then as combustibly fast as it started -- the tableau drops.\n They stand, wind whipping around them in lethal currents,\n Black Hat having to shout to be heard.", "DO NOT SEE HIS FACE.\n\n BLACK HAT\n I can SMELL the blood racing through your\n veins... Smells like dinner.\n The salesman starts to shake.", "BLACK HAT\n \"And the third day He shall rise again.\n Priest can't believe it, seeing his long dead comrade, his\n face etched with shock, all he can do is ask --", "BLACK HAT\n Me.\n Something in the distance catches Priest's eye, a BLACK SPEC\n on the horizon -- It's The Cities. His jaw tightens, he\n knows there isn't much time.", "BLACK HAT\n Oh ye of little faith.\n The understanding hits Priest immediately, crashing over him\n like a wave.\n\n PRIEST\n .They turned you.", "We see Lucy on the floor at the Figure's feet, his pale hand\n runs calmly through her hair.\n From the shadows, Black Hat steps forward, looking down at", "HALLUCINATING --\n IT'S BLACK HAT. He looks down at Priest, bowing with a\n slight flourish.", "PRIEST\n .How?\n Black Hat smiles, baring hi fangs.", "BLACK HAT\n Lost souls abandoned by divinity. No\n belief, no voice to guide them through\n the wilderness. Sound familiar?\n Priest doesn't reply, warily eyeing him.", "FEARSOME SUDDENLY STOPS\n A BLACK TOP HAT lying on the ground catching his eye, must be", "IN THE DISTANCE\n A FIGURE escapes through the dust, lurching towards the\n Cities,-- It's Black Hat.", "BLACK HAT\n They taught us God created man in His\n image. . .but they lied. Man created God", "BLACK HAT\n Don't get involved in this.\n\n RUNE\n I was involved long before you showed\n up.", "BLACK HAT\n I'm absolutely counting on it.\n And now we get our first look at her captor. A cross tattoo\n h s adows his face.\n The mark of the Priest.", "BLACK HAT\n A Priest?" ], [ "(TOASTING RUEFULLY)\n \"To go against the Church is to go\n against God'.", "KOEPPEN (CONT'D)\n \"To go against the Church is to go\n against God\".", "(BEAT)\n Remember your vow: \"To go against the\n Church is to go against God\".\n\n 0\n The officers start to lead Priest and Koeppen out the chamber,", "(BEAT)\n And the few surviving Priests faded Into\n quiet obscurity.\n The chamber is closed. We see an encrusted key turning in a\n heavy set lock and we --", "So is his hand.\n Priest holds the severed limb, its fingers still clutching\n the blade. The Leader collapses, a Holy Shitl expression", "MONSIGNOR ORELAS\n The proper authorities are handling the\n situation. I'm sure they'll.do a fine job.\n\n PRIEST\n The proper authorities?", "PRIEST\n Thank you for meeting with me on such\n short notice, Monsignors.\n Even the Monsignors are uneasy'around Priest. Their leader,\n ORELAS, leans forward, addressing him.", "13.\n\n PRIEST", "EXT. CHURCH (ESTABLISHING) - NIGHT\n\n Gone to seed. The once proud house of God now a sad\n collection of moldering stone and cracked stained glass.", "BLACK HAT (CONT'D)\n Who do you fight for, Priest? The\n Order's collapsed. The Church nothing\n but a line of decrepit, ruined old men.\n Charlatans.", "We see a MASSIVE WALL -- A hundred feet high, surrounding the\n city. Priest pulls up to a CHECKPOINT TOWER. A PHALANX OF", "KOEPPEN (CONT'D)\n The Church feels it's better to keep you\n under its care...at least until this\n trouble with your niece blows over..", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIESTESS\n I believed in Heaven my whole life.\n Believed everything we were taught -- And", "THEIR REACH:\n Priest studies the sky and all at once...he knows.\n\n PRIEST\n No, they're not.", "flesh. One of the chosen.. Touched by\n His very ha nd so peace could finally come\n to this cur sed land.\n Hicks snorts.", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "Priest doesn't respond, squinting his eyes.\n At the opposite end of the courtyard is an opening. It\n leads into a CHAMBER of some kind.", "mouths leering.\n Priest folds his hands into the prayer position.\n The Workers look at each other. Laugh.", "A CATACOMB\n Actually more a cave. Miles and miles. Twisting, jagged and\n moist. Endless corners, weaving into a dark and hideous maze.\n Priest heads into it" ], [ "PRIEST\n Not yet.\n With a HORRIBLE SCREECH the Familiars attack, LAUNCHING at\n Priest and Hicks. Blades in the air.", "PRIEST\n No need. He'll the at first light.\n Priest goes to the Familiars still lying on the ground.", "PRIEST (CONT'D)\n Where is she?\n\n THE FAMILIAR", "Astride their bikes, Priest and Hicks, look down at a valley.\n A SERIES OF ADOBES sit clustered in the basin. CRYPTS.", "Priest and Hicks move through the reservation looking for\n clues. Priest goes to the nearest structure, TWO EYES peer\n from a tiny slat. The CRYPT'S FAMILIAR.", "CRYPT FAMILIAR\n It's our time now.\n We hear a LOW RUMBLE from inside the crypts. Priest looks at\n Hicks, a feeling of dark electricity in the air, anticipation.", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "PRIEST\n Hicks.\n He starts down the tunnel. The Priestess quickly following.\n\n INT. STAIRS LEADING INTO THE CATACOMB - NIGHT", "PRIEST\n It's a tomb. Big enough for an army.\n\n HICKS\n Guess they're not as endangered as\n everyone thought.", "PRIEST\n Stay here. If anything comes up the\n steps that isn't me -- Shoot it.\n Before Hicks can reply,.Priest heads down the stairs, darkness\n swallowing him with every step.", "IT'S PRIEST\n He sticks his head through the opening, having been drawn by\n the sound of gunfire. Hicks can't believe it.", "Priest disappears with her, Hicks climbing down behind just\n as -- the chain finally SNAPS and the door BURSTS open with\n screeching vampires!", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "FAMILIAR\n The blade lodges in his skull and he drops like a sack.\n These guys move surprisingly fast -- Hicks is already\n surrounded. He hears a whistling noise as", "33.\n Priest nods, his brother's eyes burning into him. Hearing the\n sound of an engine, both men turn to find Hicks pulling up.", "Carrying a torch, the Priestess. leads Priest and Hicks\n through the maze, the deeper they go the more subterranean it\n feels. Bowels of the earth.", "A giant PYRE lights up the night, fed with the bodies of both\n Familiars and Vampires, Priest and Hicks silhouetted against\n the flames.", "PRIEST\n Where's the girl?\n\n CRYPT FAMILIAR\n PLEEASE please got", "Priest and Hicks enter engines idling, flocks of chickens run\n riot underneath their tires CLUCKING. wildly. Crumbling\n structures. Squalor.", "(BEAT)\n They're for you.\n Hicks nods, realizing Priest was ahead of him the whole time.\n\n INT. BEDROOM NIGHT" ], [ "Priest.\n But he's gone.\n Off her reaction we CUT TO:", "Priest is still alive. Barely.\n He hangs in tatters, desperately clinging to the\n undercarriage, face and body punched with bruises and blood.", "out as the door rolls open, glaring at Priest, disappearing\n down a dark corridor.\n And only now does Priest answer.", "115.\n Priest streaks into the night, bathed in moonlight,\n desolation opening around him.\n He disappears into the emptiness.\n\n CUT TO:", "Hicks, done searching, meets up with the Priestess in the\n middle of the street, he's pretty disturbed. Wind howling\n around him.", "THE LITTLE BOY\n is somehow back with his father, the two safely holding\n hands, staring stupidly at each other.\n Priest is gone.", "AARON\n comes through, looking older than the last time we saw him.\n Seeing Priest, his face cracks, smiling for the first time in\n days.", "PRIEST\n Slowly makes his way down the aisle, bruised and bloodied,\n his very presence a direct affront to this place. A woman\n GASPS, somebody faints.", "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "Hicks FIRES!\n But Priest is pone.\n Hicks looks around --\n There's no sign of him, not even the bike.", "Priest sits alone, rosary beads clutched in his hands. He\n looks up to find Koeppen, the old man staggering as he downs", "14.\n\n INT. PRIEST'S APARTMENT - MOMENTS LATER", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "But Priest only lifts the man's head, studying his neck.\n He's clean.\n And without a single word -- Priest just walks away.", "Priest looks around the room -- FAMILIES AND HOMELESS huddle\n at the surrounding tables, terrified.\n There's only one thing left for him to do.", "Priest looks up to find FATHER KOEPPEN. The old man staring\n .at him. A lost soul.", "our two Priests reach for him but it's too late ...He\n disappears into the darkness as we CUT BACK TO:", "But Priest is,outmatched.\n As they hit the final car, Priest flies across the roof\n catching the edge with his hand just before he goes over, his", "KOEPPEN (CONT'D)\n Ask yourselves -- Where am I going?\n At this, Priest turns, the question catching him as well.\n And it's only now he realizes --\n He has no answer.", "away. HOLD ON HICKS -- Eyes stinging, he watches Priest.\n Finally he starts his bike, following." ], [ "EXT. VAMPIRE TRAIN - DAY\n\n The Priestess, engine at full boil, makes her way up the\n train, eyes on the engine up ahead.", "She sees Hicks and Priest-on top of the train, Lucy with them.\n Taking one last look at Priest -- she smiles.\n And spreads her arms open.", "The Priestess, cycle at full throttle, racing beside the\n TRAIN ENGINE. Up close it's a real mechanical monster, black", "Hicks nods, maneuvering to the side of his bike and jumping\n to the Priestess's, his cycle crashing into the dirt as he\n LEAPS onto the back of the train.", "Hicks and the Priestess are riding right beside the colossus,\n the sound incredible as the cars rattle across the tracks.\n Carefully, they pull up to the caboose.", "Priest's hand as one would swat a bug. Priest falls below,\n getting caught under the train and quickly dragged under.", "PRIEST\n He wanted us to find it. It's a clue.\n\n PRIESTESS\n Where's the closest track?\n\n CUT TO.", "A BRIGHT FLASH -- we see the TRAIN collide with the.\n Priestess. The massive grill of the engine CRUMPLING AROUND", "IT'S THE PRIESTESS -- Standing defiant as the train barrels\n towards her. An ant in front of a battleship.", "The Trio BLAST down the rock face, descending down the mountain\n at a furious clip. The Priestess looks at the train off in the", "PRIEST\n Shoot me and it won't matter if you find\n Lucy. You won't stop that train -- and\n you won't save her.\n The Priestess steps between them, looks at Hicks.", "PRIEST\n Make sure you get on that train,\n\n (BEAT)\n I'll catch up.\n 'Before they can respond, he banks his cycle to the left.", "EXT. TRAIN CONTINUOUS'\n\n They work their way up the side, making it to the roof,\n exhausted. Priest carrying the still unconscious Lucy.", "PRIESTESS\n What?\n\n PRIEST\n It's a riddle.\n The Priestess thinks about it.", "PRIEST\n Not until we stop the trains\n But now Hicks isn't even looking at him, his attention caught\n up in the horrible sight waiting ahead of them.\n\n HICKS", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "THE PRIESTESS\n Lies before it. Somehow not a scratch on her...But\n something's wrong -- something inside her broken, something", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIEST\n They won't have to.\n And with the SHRIEK of the train whistle we CUT TO:\n\n EXT. WASTELAND (DUNKIRK RAIL) - DAY", "Priest and Black Hat eye each other, landscape whipping past\n at a furious rate, the train blasting along the tracks." ], [ "THE LEAD VAMPIRE\n Perched atop his crypt like a gargoyle, raging at Priest and", "LEAD VAMPIRE\n Look at us -- Living in ruin, forced to\n feed off the blood of animals. We once\n scoured 'this land. We were warriors...we\n were Gods!", "LEAD VAMPIRE\n We were what nature made us.\n (flashes his fangs)\n I recommend you leave immediately...You\n are not welcome here.", "SHARP CLAWS\n Suddenly RIP across Priest's back! It's the Lead Vampire,\n back for more. Claws digging into flesh.", "A HORRENDOUS SCREECH fills the air.\n Led by the Purebloods, HUNDREDS OF VAMPIRES fly out from", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "PRIEST\n Emerges through the hole, exhausted, the LEAD VAMPIRE'S HEAD in\n his hand dangling by its hair.", "THE VAMPIRE RIDERS\n Take the bait, going for Priest. They gun their cycles,\n engines.WHINING as they rev forward, their LEADER unleashing", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "LEAD VAMPIRE\n --'Your words mean nothing to us, Priest.\n And now we see the book's actually hollow on the inside,", "hornets. Disturbed.\n WHOOSH! One of the figures SWOOPS low, touching to the\n ground. Giving us our first good look at a vampire;", "The vampire cackles, sounds like dried paper, its voice a\n series of teeth clicking hisses. as it eyes Priest angrily.", "HICKS\n Shit.\n With a WAIL, the vampires quickly scramble from their coffins,", "HICKS LOOKS BEHIND HIM\n DOZENS OF VAMPIRES ARE NOW AWAKE. Sitting up in their", "With a SNARL the fallen riders LAUNCH at Priest. These\n vampires are different than the Nightshade tribe. Stronger,", "CUT TO:\n\n EXT. VAMPIRE TRAIN - SAME TIME", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "Screeching, ANOTHER VAMPIRE makes it through the opening,\n Hicks quickly taking him down in one crack shot.\n He picks Lucy up, handing her to Priest.", "LEAD VAMPIRE\n Then you aren't going anywhere,.\n If there was a tumbleweed in the vicinity this is when it would", "INT. VAMPIRE HIVE - DREAM SEQUENCE/FLASHEIACK\n\n It's dark." ], [ "HICKS (V.0.) (CONT'D)\n -- Specially trained warriors in the art\n of vampire combat. They single-handedly", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "With a SNARL the fallen riders LAUNCH at Priest. These\n vampires are different than the Nightshade tribe. Stronger,", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the", "Screeching, ANOTHER VAMPIRE makes it through the opening,\n Hicks quickly taking him down in one crack shot.\n He picks Lucy up, handing her to Priest.", "Their bodies lock in a horrible struggle, rolling across the\n Familiars. The Vampire's claws CHURNING into their bodies,\n killing them instantly.", "VAMPIRES (we still do not get a good look at them). Their\n technique is otherworldy -- combining the brutality of a\n Maori Warrior. with the grace of a Samurai.", "LEAD VAMPIRE\n Look at us -- Living in ruin, forced to\n feed off the blood of animals. We once\n scoured 'this land. We were warriors...we\n were Gods!", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "(BEAT)\n You Priests did too good a job. The\n vampire population is classified as\n endangered. They're protected.", "A shadow of what they once. were.\n Through heavy smoke, we see a pile of VAMPIRE CORPSES, a\n ragged collection of fangs and claws.", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "hornets. Disturbed.\n WHOOSH! One of the figures SWOOPS low, touching to the\n ground. Giving us our first good look at a vampire;", "HICKS\n You're teaching me to shoot?\n\n PRIEST\n I'm teaching you to kill vampires. No\n more wild shots --", "HICKS\n Shit.\n With a WAIL, the vampires quickly scramble from their coffins,", "THE VAMPIRE RIDERS\n Take the bait, going for Priest. They gun their cycles,\n engines.WHINING as they rev forward, their LEADER unleashing", "out from within the car! Vampires covered in rider leather,\n protected from the sun, heads obscured by BLAST HELMETS.\n Priest turns to the other two.", "30.\n\n HICKS (CONT'D)\n it strictly states it is forbidden for\n anyone to hunt vampires anymore.", "(BEAT)\n Why would they?\n She nods towards the bodies, we now see tb=1re.-VAMPIRZ-\n\n CORPSES.", "HICKS (CONT'D)\n Since the beginning -- the two have been\n locked forever in combat... The vampires" ], [ "(BEAT)\n You Priests did too good a job. The\n vampire population is classified as\n endangered. They're protected.", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the", "out from within the car! Vampires covered in rider leather,\n protected from the sun, heads obscured by BLAST HELMETS.\n Priest turns to the other two.", "HICKS\n You're teaching me to shoot?\n\n PRIEST\n I'm teaching you to kill vampires. No\n more wild shots --", "PRIEST\n Better to keep it contained.\n The vampire's lathered into an animal frenzy now, wailing and", "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "Priest disappears with her, Hicks climbing down behind just\n as -- the chain finally SNAPS and the door BURSTS open with\n screeching vampires!", "HICKS W. 0.\n This is what's known: There has always\n been man...and there have always been\n vampires.", "OF SLEEPING VAMPIRES.\n OUR PRIEST, motions with his hand to the others, giving\n precise instructions, their movements well coordinated.", "30.\n\n HICKS (CONT'D)\n it strictly states it is forbidden for\n anyone to hunt vampires anymore.", "PRIEST\n Vampires sometimes use abandoned\n structures as a perch.\n (looks at Hicks)\n Watch for booby traps.\n And with that he enters the--", "Screeching, ANOTHER VAMPIRE makes it through the opening,\n Hicks quickly taking him down in one crack shot.\n He picks Lucy up, handing her to Priest.", "Priest wrenches around and the two go at it. A fierce, feral\n battle. The Vampire's fangs chattering inches from his neck.", "(TOASTING RUEFULLY)\n \"To go against the Church is to go\n against God'.", "PRIEST\n Killing a vampire isn't like killing a\n man. They come at'you like an animal.\n Tooth for tooth.\n\n .(MORE)", "HICKS (CONT'D)\n Since the beginning -- the two have been\n locked forever in combat... The vampires", "PRIEST (CONT'D)\n\n FOCUS.\n And with that he's gone, rolling across the ground like a\n boulder and LEAPING at TWO DARTING VAMPIRES.", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "Their bodies lock in a horrible struggle, rolling across the\n Familiars. The Vampire's claws CHURNING into their bodies,\n killing them instantly.", "THEIR REACH:\n Priest studies the sky and all at once...he knows.\n\n PRIEST\n No, they're not." ], [ "BLACK HAT (CONT'D)\n Lack of faith. That's what I found in my\n new brethren And so it was I\n discovered my true calling -- To teach.\n To lead.", "BLACK HAT\n Oh ye of little faith.\n The understanding hits Priest immediately, crashing over him\n like a wave.\n\n PRIEST\n .They turned you.", "BLACK HAT\n No, Priest...I turned them.\n He smiles wider as we CROSSCUT TO:\n\n INT. VAMPIRE TRAIN - SAME TIME", "BLACK HAT\n No.\n Rune smiles,'revealing an impressive set of vampire fangs.", "BLACK HAT\n Lost souls abandoned by divinity. No\n belief, no voice to guide them through\n the wilderness. Sound familiar?\n Priest doesn't reply, warily eyeing him.", "PRIEST\n .How?\n Black Hat smiles, baring hi fangs.", "LEAD VAMPIRE\n Look at us -- Living in ruin, forced to\n feed off the blood of animals. We once\n scoured 'this land. We were warriors...we\n were Gods!", "THE LEAD VAMPIRE\n Perched atop his crypt like a gargoyle, raging at Priest and", "BLACK HAT\n What do you want for her?\n And now her captor lifts his hat -- revealing paper-thin\n skin, eyes like black coal. This is RUNE, a bounty hunter.", "BLACK HAT (CONT'D)\n \"And all hell followed with him.\"\n He raises his head back, ready to sink his teeth. Priest too\n exhausted to fight back. This is it.\n Prom a b= --", "BLACK HAT\n They taught us God created man in His\n image. . .but they lied. Man created God", "BLACK HAT\n \"And the third day He shall rise again.\n Priest can't believe it, seeing his long dead comrade, his\n face etched with shock, all he can do is ask --", "BLACK HAT\n Me.\n Something in the distance catches Priest's eye, a BLACK SPEC\n on the horizon -- It's The Cities. His jaw tightens, he\n knows there isn't much time.", "BLACK HAT ATTACKS\n SLAMMING.into him, the two warriors going at it in a brutal\n battle, the vampire raking his claws across Priest's face,\n drawing blood.", "BLACK HAT\n It was the only way. The Cities are\n defenseless now...no one left to stop us\n from entering our Eden. But I was kind --\n I gave every last one the choice I never\n had.", "PRIEST\n By murdering innocents?\n\n BLACK HAT\n By drawing a once great race back to\n their\"nature. By helping them discover'\n the mastery within themselves.", "LEAD VAMPIRE\n We were what nature made us.\n (flashes his fangs)\n I recommend you leave immediately...You\n are not welcome here.", "DO NOT SEE HIS FACE.\n\n BLACK HAT\n I can SMELL the blood racing through your\n veins... Smells like dinner.\n The salesman starts to shake.", "BLACK HAT\n Don't get involved in this.\n\n RUNE\n I was involved long before you showed\n up.", "76.\n Black Hat eyes him." ], [ "And then all hell breaks loose.\n The Nightshade Vampires hiss. Bearing their fangs like\n cobras and taking to the air with a SHRIEK. Attacking.", "HICKS\n But headin' to the Cities is suicide.\n The sun will kill `em -- there's nowhere\n to hide.\n Priest gazes at the map, deeply troubled.", "THE CITIES.\n And it is only now that we see exactly what Priest means.\n THICK CLOUD OF INDUSTRIAL SMOKE covers the metropolis.\n There is no sun.", "A MASSIVE GATE, not, opened for decades slowly GRINDS open, a\n complex series of CHAINS and WINCHES scraping to life. The'\n Cities now open to the approaching vampire train.", "(BEAT)\n You Priests did too good a job. The\n vampire population is classified as\n endangered. They're protected.", "(TO EVERYONE)\n Now I don't blame you for bein' afraid.\n But those vampires headed clear .on out\n and they ain't comin' back.", "out from within the car! Vampires covered in rider leather,\n protected from the sun, heads obscured by BLAST HELMETS.\n Priest turns to the other two.", "HICKS\n Shit.\n With a WAIL, the vampires quickly scramble from their coffins,", "A VAMPIRE\n Jabs its head through the hole, teeth chattering-- but the\n creature can't go any further, the sunlight already making", "A shadow of what they once. were.\n Through heavy smoke, we see a pile of VAMPIRE CORPSES, a\n ragged collection of fangs and claws.", "harsh sun.\n Priest CRUNCHES a vampire in the ribs, knocking the creature\n off his bike. In a flash, he FLINGS.a helmet into the", "(CACKLING)\n You're too late, Priest --\n He points to the horizon, the last rays of daylight\n disappearing.", "The vampire sneers and as it speaks the following -- one\n by one, the OTHERS drop from the sky, flanking him. They're\n scraggly, a little undernourished.", "INT VAMPIRE TRAIN CAR - SAME\n Sunlight bursts into the darkened chamber, but only reaching", "30.\n\n HICKS (CONT'D)\n it strictly states it is forbidden for\n anyone to hunt vampires anymore.", "at his throat, fangs inches from his face. A couple of quick\n moves and - before you realize how - the vanires lay dead.\n He quickly joins the surviving Priests as they run through the", "hornets. Disturbed.\n WHOOSH! One of the figures SWOOPS low, touching to the\n ground. Giving us our first good look at a vampire;", "HICKS (CONT'D)\n Since the beginning -- the two have been\n locked forever in combat... The vampires", "HICKS\n (under his breath)\n Jesus.\n Another VAMPIRE careens towards him. Coming in low, crawling", "followed.\n (spits, a wad of tobacco)\n 'Course we both know after a week, girls\n taken by vampires either and up dead or" ], [ "PRIEST\n He stands, bruised and bloody, staring at the sky. Watching.\n A dazed Hicks beside him, Lucy in his arms as she comes to.", "Carrying a torch, the Priestess. leads Priest and Hicks\n through the maze, the deeper they go the more subterranean it\n feels. Bowels of the earth.", "They move quickly, Priest ahead of the other two. Hicks\n gazes at the Priestess, admiring her body. Any man would.\n He works up his courage and approaches her. Quietly.", "PRIESTESS (0.8.)\n They used to.\n The Priestess steps out from behind Priest. Startling Hicks.", "84.\n The Priestess is in front leading the charge, closely\n followed by Hicks. Priest brings up the rear, he stops just\n past the bridge, looks around.\n Something's wrong.", "HICKS\n And how many of you Priests are left now?\n A long moment before she speaks.\n\n PRIESTESS\n Two.\n Hicks doesn't know what to Say-,,", "PRIEST\n Sundown.\n Hicks looks up at the sky. The sun tilting towards the\n horizon.\n\n CUT TO:", "Astride their bikes, Priest and Hicks, look down at a valley.\n A SERIES OF ADOBES sit clustered in the basin. CRYPTS.", "As the Priestess and Hicks enter the chamber, Hicks coughs,\n reeling from the smell, the Priestess wrapping a cloth around", "withering... quickly becoming nothing more than husks.\n Floating black kites.\n Hicks and Priest stand, surrounded by the epic destruction,", "Priest GUNS the engine. Hicks and Lucy watching as he blazes\n towards the Cities, the sky above the color of hellfire.", "PRIEST\n Hicks.\n He starts down the tunnel. The Priestess quickly following.\n\n INT. STAIRS LEADING INTO THE CATACOMB - NIGHT", "HICKS\n This ain't done.\n He lowers his gun and walks away.\n The two warriors stand together, the Priestess gazing at", "Priest disappears with her, Hicks climbing down behind just\n as -- the chain finally SNAPS and the door BURSTS open with\n screeching vampires!", "HICKS\n Don't make no sense. What were they\n doin' out here?\n\n PRIESTESS\n The same thing as us.", "PRIESTESS\n Yes.\n She nods, though in affirmation of what Hicks's isn't sure.\n He watches her as she stares'into the fire. We FADE TO BLACK:", "PRIESTESS\n -- What they left of it.\n PUSH IN ON HICKS -- knots of rope tightening in his\n stomach... only now realizing how truly black the path before\n him will be.", "HICKS\n (hiding it from him)\n Sore. Cut's still open.\n As Hicks hands the canteen back, Priest suddenly grabs his arm\n it's completely healed. Not even a scar.", "PRIESTESS\n He's right. We need to be together on\n this... it's the only shot we have.\n Hicks thinks about it, knows she's right. A tense beat then", "PRIEST\n Stay here. If anything comes up the\n steps that isn't me -- Shoot it.\n Before Hicks can reply,.Priest heads down the stairs, darkness\n swallowing him with every step." ] ]

[ "What group now controls society?", "Who are the designated \"warriors\" for the church?", "What are the human servants of the vampires called?", "What makes familiars subservient to the vampires?", "Who is the Sheriff of Augustine?", "What do the Sheriff and the Priest attempt to do?", "How is Lucy related to the Priest?", "How does the Priest prove to the Monsignor the vampires are real?", "What object is strapped with explosives by the Priestess?", "Who has been at war for centuries?", "What was constructed to protect mankind?", "Who approaches Priest?", "What is asked of Priest by the person who approaches him?", "What are the infected humans called?", "Where does Preistess join Priest and Hicks?", "Why does Black Hat kill the three priests?", "What do Priest, Priestess, and Hicks discover about the town the next morning?", "Why does Hicks threaten Priest?", "What is revealed about Black Hat?", "What kind of government is The Church?", "Where do Priest and Hicks find the Familiars?", "Who does Priest find when he returns to the city?", "What does Priestess place on the train tracks?", "Who leads the vampires?", "Who are the elite vampire killers?", "How does The Church protect humans from vampires?", "What was Black Hat before he led the vampires?", "Why won't the sun protect the cities from the vampires?", "What do Priest, Priestess, and Hicks destroy at Sola Mira?" ]

[ [ "The Church", "The Church" ], [ "The Priests", "the Priests" ], [ "Familiars", "Familiars" ], [ "They are infected with a pathogen", "Because they are infected with a pathogen (disease). " ], [ "Hicks", "Hicks is the sheriff." ], [ "Rescue Lucy", "rescue Lucy" ], [ "The Priest is Lucy's uncle", "She is his daughter." ], [ "He throws a vampire's head on the Church's floor", "throws a vampire head on the floor in front of him" ], [ "A motorbike", "Motor bike. " ], [ "Humans and vampires.", "Humans and vampires" ], [ "Giant walled cities", "Walled cities" ], [ "Hicks", "Hick" ], [ "His help in rescuing Lucy", "To help rescue Lucy." ], [ "Familiars", "Famliars" ], [ "Sola Mira", "Sola Mira." ], [ "They reject his offer", "They rejected his offer to join him and his vampires. " ], [ "It is empty", "The town is empty and the three dead Priests are crucified. " ], [ "To ensure Infected Lucy's safety.", "because Priest want to kill Lucy" ], [ "He is a former priest who is now a Vampire-Human Hybrid.", "He is a priest who was defeated at Sola Mira and is a vampire-human hybrid." ], [ "A theocracy", "totalitarian" ], [ "Nightshade Reservation", "Nightshade Reservation" ], [ "Monsignor Orelas", "Monsignor Orelas" ], [ "A bomb", "a bomb" ], [ "Black Hat", "Black Hat" ], [ "The Priests", "The Priests." ], [ "By building walled cities and formed The Priests", "walled cities" ], [ "A priest", "A Priest." ], [ "Because the smog from the factories blocks the sunlight", "smog" ], [ "A Hive Guardian vampire", "A Hive Guardian vampire." ] ]

[ [ "he succeeded to a certain extent in conveying some faint idea of the\nconvulsion that had happened. The event was precisely what he had\nforetold. The communication was received by all alike with the most", "occasioned by the shock, they started off in a body and made their way\nto the town. It was a matter of extreme surprise to find no symptom of\nthe least excitement anywhere as they went along. The population was", "The captain made no reply, but for a time, at least, he desisted from\npuzzling himself over matters which he felt he was utterly incompetent\nto explain. But an event soon afterwards occurred which awakened his\nkeenest interest.", "There was a general attitude of attention. It was surprising how calmly\nthey proceeded to discuss the circumstances that looked so threatening\nand ominous.", "they cling to their old traditions, that it mattered little to them what\nphysical disorganization ensued, so long as they felt they were sharing\nthe experiences of their lord and master. The late astounding events,", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "Their first impression was that they were cries of distress, and they\nwere greatly relieved to find that they were shouts of delight, which\nthe dryness and purity of the atmosphere caused to re-echo like a volley\nof musketry.", "enlightened of them all, he was quite incapable of forming the least\nconception of the nature of what had occurred. The one thing upon which\nthey could not fail to be conscious was that they had no prospect of", "how they spent their days. Everything went on with them in an accustomed\nroutine; and they lay down night after night, and awoke to their\navocations morning after morning, just as if nothing extraordinary had", "In a mystery every one found himself upon the earth again. They could\nnot explain it, but here they were once more upon terrestrial soil; in\na swoon they had left the earth, and in a similar swoon they had come\nback!", "them? Was it mere fancy? Was it the reverberation of the cannon still\nbooming in their ears? Or was it not truly the report of another and", "Incredulous as they naturally were as to the assigned cause of the\nquarrel, Servadac's friends had no alternative but to accept his", "Certain it is that one morning, when the weather was bright and calm,\nthey had embarked alone in the little boat, and been absent for seven or\neight hours. Not even to Corporal Pim did they communicate the object", "foresaw that it was inevitable, and that it must happen on the night of\nthe 31st of December; moreover, as the bodies were moving in opposite\ndirections, the shock could hardly fail to be violent.", "of all the abnormal phenomena that had occurred, and yet refusing to\nbelieve that his hope of making good bargains with European traders was\nat an end. Surely nothing, thought the captain, will convince the old", "The result of these studies no one ventured to inquire; but it became\ngenerally noticed that something was very seriously disturbing", "There was a general sigh of disappointment. They turned the paper over\nand over, and handed it from one to another. \"What does it all mean?\"\nexclaimed the count.", "What phenomenon was this that had produced a cataclysm so tremendous in\neffect upon earth, sky, and sea?\n\nWas it possible that a single human being could have survived the\nconvulsion? and if so, could he explain its mystery?", "The 1st of January was drawing near, the anniversary of the shock\nwhich had resulted in the severance of thirty-six human beings from the", "Such was Ben Zoof's version of what had occurred, as he had gathered it\nfrom the new-comers. He wound up his recital by remarking that the cargo" ], [ "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "The deviation, however, was not great; it did not justify any\nanticipation that Gallia would merely graze the earth, as it had done\nbefore; it left it certain that the two bodies would inevitably impinge.", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "\"I deny it,\" said Servadac. \"Gallia has lost its chance of getting back\nto the earth. Gallia has nothing to do with you. Gallia is mine; and you\nmust submit to the government which I please to ordain.\"", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"But now, gentlemen,\" added the professor, \"I must tell you something\nmore. Important changes have resulted from the collision; the cardinal", "By the expansive action of the inner heat, Gallia, like Gambart's comet,\nhad been severed in twain; an enormous fragment had been detached and\nlaunched into space!", "There was a faint sigh, followed by a feeble voice, which uttered the\none word, \"Gallia?\"\n\n\"Yes, yes! Gallia!\" echoed Servadac, eagerly.", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "The major smiled incredulously; but Servadac, nothing daunted, went on\nto detail the results of the collision between the comet and the earth,", "\"Gallia out of place?\" repeated Servadac, agitated with alarm.\n\n\"I did not say Gallia,\" replied Rosette, stamping his foot impetuously;\n\"I said Nerina.\"", "the earth, which ordinarily are affected by atmospheric influence, and\nliable to slight intermissions of their severity at various shiftings\nof the wind, Gallia's winter was caused by her immense distance from the", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "crossing the ecliptic, had come into collision with the earth, and that\nthe violence of the shock had separated a huge fragment from the\nglobe, which fragment from that date had been traversing the remote", "All previous hypotheses, then, were now forgotten in the presence of the\none great fact that Gallia was a comet and gravitating through remote", "CHAPTER XIII. DREARY MONTHS\n\n\nHenceforth, then, with a velocity ever increasing, Gallia would\nre-approach the sun." ], [ "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "to maintain them in good health, and there seemed no reason to doubt\nthat, when Gallia returned to the earth, the total of its little\npopulation would still be complete.", "\"Altogether, then,\" said Servadac, \"we seem to have settled it to our\nentire satisfaction that we must be the population of a young little\nworld called Gallia. Perhaps some day we may have the honor of being\nregistered among the minor planets.\"", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "There was a faint sigh, followed by a feeble voice, which uttered the\none word, \"Gallia?\"\n\n\"Yes, yes! Gallia!\" echoed Servadac, eagerly.", "\"Here, at least, is one nice little inhabitant of Gallia,\" said Captain\nServadac, as he caressed the child and conducted her to the boat.", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "\"I deny it,\" said Servadac. \"Gallia has lost its chance of getting back\nto the earth. Gallia has nothing to do with you. Gallia is mine; and you\nmust submit to the government which I please to ordain.\"", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "CHAPTER VII. GALLIA WEIGHED\n\n\nA quarter of an hour later, the visitors to the _Hansa_ had reassembled\nin the common hall of Nina's Hive.", "\"Now, Captain Servadac,\" said the professor, \"take your pen again, and\nfind me the volume of Gallia.\"\n\nThe captain hesitated.", "By the return of the expedition, conveying its contribution from\nFormentera, the known population of Gallia was raised to a total of\nthirty-six.", "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously" ], [ "dimensions that a good walker might make a circuit of them in four and\ntwenty hours; consequently Gallia, being of superior volume, might be\nsupposed capable of exercising a power of attraction upon any of these", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Beneath their feet was extended the basin of the Gallian Sea. An\ninconsiderable speck to the north marked the site of Gourbi Island.", "Gallia's movements: he had estimated her distance from the sun; he had\ncalculated the diminution of her tangential speed; but there was nothing\nto show that he had arrived at the conclusions which were of the most", "\"And the next line,\" said the lieutenant, after reading it aloud,\n\"apparently registers the distance traversed by Gallia, the new little", "\"And probably,\" replied the lieutenant, \"as we ascend we shall find not\nonly snow but ice. We must suppose this Gallia of ours to be a sphere,", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "CHAPTER XIII. DREARY MONTHS\n\n\nHenceforth, then, with a velocity ever increasing, Gallia would\nre-approach the sun.", "During the months of July and August, Gallia advanced 164,000,000\nleagues along her orbit. At night the cold was still intense, but in", "the earth, which ordinarily are affected by atmospheric influence, and\nliable to slight intermissions of their severity at various shiftings\nof the wind, Gallia's winter was caused by her immense distance from the", "On the 15th of December, Gallia was 276,000,000 leagues from the sun,\nand, as it was approximately to the extremity of its axis major, would", "Gallia's path through space to make him competent to determine, at least\napproximately, the period of its revolution round the sun. With as much", "where they had picked up the little Italian girl; and the site of\nthe tomb of Saint Louis on the coast of Tunis. Around these there was\nstretched out the full extent of the Gallian Sea, which apparently", "Gallia from the sun, and the number of leagues she had traversed since\nthe receipt of the last mysterious document, there were no means of\njudging; the extent of diminution in the apparent disc of the sun did", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "But Gallia had a narrow destiny. She was not to be allowed to wander\naway into the range of attraction of another center; nor to mingle with", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "July had now arrived. During the month Gallia's advance along its orbit\nwould be reduced to 22,000,000 leagues, the distance from the sun at the" ], [ "\"Now, gentlemen,\" said Professor Rosette, \"we are in a position to\ncomplete our calculation; we can now arrive at Gallia's attraction,\ndensity, and mass.\"\n\nEveryone gave him his complete attention.", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "alteration would ensue in the rate of Gallia's velocity; but Rosette, no\ndoubt, could answer the question directly, and the time had now", "Gallia's movements: he had estimated her distance from the sun; he had\ncalculated the diminution of her tangential speed; but there was nothing\nto show that he had arrived at the conclusions which were of the most", "\"What has mass to do with the orbit? Of how many comets do you know the\nmass, and yet you know their movements? Ignorance!\" shouted Rosette.\n\n\"Insolence!\" retorted Servadac.", "\"Because, I tell you, the mass of Gallia is so inferior to that of the\nmoon, that Gallia would become the moon's satellite; the moon could not\npossibly become hers.\"", "\"You mean that in two years after the first shock, Gallia will meet the\nearth at the same point as they met before?\" said Lieutenant Procope.\n\n\"I am afraid so,\" said Rosette.", "\"I require, gentlemen,\" resumed Rosette, \"first of all to know by how\nmuch the weight of a kilogramme here differs from its weight upon the", "kilogrammes. What, therefore, is our conclusion? Why, that the density\nof Gallia is just about double the density of the earth, which we know", "When Professor Rosette's equanimity had been restored, he said, \"Thus,\nthen, gentlemen, the diameter, the surface, the volume of my comet are", "The following day was the 1st of August, or, according to Rosette,\nthe 63rd of April. In the course of this month Gallia would travel", "Servadac uttered an exclamation of surprise.\n\n\"And the sum of the specific gravities of these two substances is 10,\nprecisely the number that represents Gallia's density.\"", "\"Gallia out of place?\" repeated Servadac, agitated with alarm.\n\n\"I did not say Gallia,\" replied Rosette, stamping his foot impetuously;\n\"I said Nerina.\"", "Nothing further now remained than to apply the investigations thus\nfinished to the determining of the mass or weight. This was a matter of\nlittle labor.", "But now, besides enjoying the satisfaction of having punished old\nHakkabut, Rosette was able to recommence his calculations with reference\nto the elements of Nerina upon a correct basis, a task to which he\ndevoted himself with redoubled energy.", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "Professor Rosette was manifestly right in asserting that such a machine\nwould register results quite independently of any change in the force\nof attraction. On the earth it would have registered a kilogramme as a", "is only five kilogrammes to a cubic decimeter. Had it not been for\nthis greater density, the attraction of Gallia would only have been", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Rosette's language became more and more violent, till Servadac, feigning\nto be provoked beyond endurance, cried:\n\n\"You forget, sir, that you are addressing the Governor-General of\nGallia.\"" ], [ "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "Then, addressing Count Timascheff, he added, \"Altogether, I think the\ncountries of Europe are fairly represented by the population of Gallia.\"", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "\"True, captain,\" answered the count; \"we have only a fragment of a\nworld, but it contains natives of France, Russia, Italy, Spain, and\nEngland. Even Germany may be said to have a representative in the person\nof this miserable Jew.\"", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "to maintain them in good health, and there seemed no reason to doubt\nthat, when Gallia returned to the earth, the total of its little\npopulation would still be complete.", "Unable, indeed, the Gallians were to realize all the marvels of this\nstrange world. After all, they were practically a thousand times further", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "\"I deny it,\" said Servadac. \"Gallia has lost its chance of getting back\nto the earth. Gallia has nothing to do with you. Gallia is mine; and you\nmust submit to the government which I please to ordain.\"", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "\"Altogether, then,\" said Servadac, \"we seem to have settled it to our\nentire satisfaction that we must be the population of a young little\nworld called Gallia. Perhaps some day we may have the honor of being\nregistered among the minor planets.\"", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "That satellite was a part of Gallia itself!", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "There was a faint sigh, followed by a feeble voice, which uttered the\none word, \"Gallia?\"\n\n\"Yes, yes! Gallia!\" echoed Servadac, eagerly.", "dimensions that a good walker might make a circuit of them in four and\ntwenty hours; consequently Gallia, being of superior volume, might be\nsupposed capable of exercising a power of attraction upon any of these", "\"Yes,\" continued the professor, \"Gallia is a periodic comet, and\nallowing for the perturbations to which it is liable from the attraction\nof Mars and Jupiter and Saturn, it will return to the earth again in two\nyears precisely.\"", "All crowded round, eager to hear the news. In the struggle with the\ngulls the bag had been partially torn open, but still contained the\nfollowing dispatch:\n\n\"Gallia!", "Servadac shrugged his shoulders in contempt and turned away. Here was\na man who had been resident three months in Gallia, a living witness" ], [ "to maintain them in good health, and there seemed no reason to doubt\nthat, when Gallia returned to the earth, the total of its little\npopulation would still be complete.", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "consideration of the means to be adopted to enable the inhabitants of\nGallia to survive the terrible cold, which, in their ignorance of the\ntrue eccentricity of their orbit, might, for aught they knew, last for", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Unable, indeed, the Gallians were to realize all the marvels of this\nstrange world. After all, they were practically a thousand times further", "\"Altogether, then,\" said Servadac, \"we seem to have settled it to our\nentire satisfaction that we must be the population of a young little\nworld called Gallia. Perhaps some day we may have the honor of being\nregistered among the minor planets.\"", "all difficulties in the way were overcome, and Zephyr and Galette were\nconducted down the crater, where they were installed in a large hole and\nprovided with forage, which was still abundant.", "There was a faint sigh, followed by a feeble voice, which uttered the\none word, \"Gallia?\"\n\n\"Yes, yes! Gallia!\" echoed Servadac, eagerly.", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "\"I deny it,\" said Servadac. \"Gallia has lost its chance of getting back\nto the earth. Gallia has nothing to do with you. Gallia is mine; and you\nmust submit to the government which I please to ordain.\"", "the earth, which ordinarily are affected by atmospheric influence, and\nliable to slight intermissions of their severity at various shiftings\nof the wind, Gallia's winter was caused by her immense distance from the", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"Here, at least, is one nice little inhabitant of Gallia,\" said Captain\nServadac, as he caressed the child and conducted her to the boat.", "the half-dormant population of Gallia were of her influence, they still\nwould have missed her bright presence sorely. The months still glided\non; how, it seemed impossible for the inhabitants of the living tomb to" ], [ "In a mystery every one found himself upon the earth again. They could\nnot explain it, but here they were once more upon terrestrial soil; in\na swoon they had left the earth, and in a similar swoon they had come\nback!", "Gradually, but uninterruptedly, life and spirits continued to revive,\nand by the end of the month Servadac and his little colony had regained", "The boat was lowered and manned by the four sailors; Servadac,\nTimascheff and Procope were quickly rowed ashore, and lost no time", "_savant_ to the little world that had been so suddenly launched\ninto space? Again and again they discussed these questions; but no\nsatisfactory answer could be found. The only man who was able to throw", "\"How strange,\" exclaimed Hector Servadac, \"that after sailing all this\ntime over sea where we expected to find land, we have at last come upon\nland where we thought to find sea!\"", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "The circuit of the island had been now completed, and the explorers,\nafter a period of sixty hours, found themselves once more beside the", "\"But allow me to repeat,\" insisted Servadac, \"that we are no longer on\nthe earth, although we expect to come in contact with it again in about\neight weeks.\"", "\"A fine piece of business we have made of this!\" said Ben Zoof, when he\nfound himself alone with his master.\n\n\"We will make our way back at once,\" replied Captain Servadac.", "fatal land. All were aware that their last moment had arrived. Servadac\nand the count grasped each other's hands for a long farewell; and,", "As to the fulfillment of the professor's prediction of an ultimate\nreturn to the terrestrial sphere, that was a point on which it must\nbe owned that the captain, after the first flush of his excitement was\nover, was not without many misgivings.", "\"Yes, indeed,\" replied Servadac; \"she is a charming little creature. I\nhardly know how we should have got on without her.\"\n\n\"What is to become of her when we arrive back at the earth?\"", "once more to return \"to port.\" The landing, indeed, might be a matter\nof difficulty; but with the good prospect before them of once again\nstanding on terrestrial shores, they had nothing to do at present", "A moment's hesitation and the orderly clambered over the side of the\ncar. Servadac followed. The cords were cut. The balloon rose with\nstately calmness into the air.", "It was two hours after the catastrophe that Captain Servadac regained\nconsciousness; he had some trouble to collect his thoughts, and the\nfirst sounds that escaped his lips were the concluding words of the\nrondo which had been so ruthlessly interrupted;", "Still no ship appeared; and Captain Servadac, after the example of all\nprevious Crusoes, began to consider it advisable to investigate the", "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously", "us long in the dark, if he thought we were not going back to the earth\nagain. The greatest satisfaction he could have would be to inform us\nthat we had parted from the earth for ever.\"", "Upon re-embarking, the bewildered explorers began to discuss the\nquestion whether it would not now be desirable to make their way back", "Moments were precious; but Hector Servadac resolved that he would adopt\na device to secure that at least some record of their excursion in solar\ndistances should survive themselves." ], [ "what had become of their respective countries. They were glad to be on\nboard again, that they might résumé their voyage of investigation,\nand in two hours were out of sight of the sole remaining fragment of", "The circuit of the island had been now completed, and the explorers,\nafter a period of sixty hours, found themselves once more beside the", "Eagerly and anxiously did they look around. To the south there was\nnothing but the sea they had traversed; to the north, nothing but one\ndrear, inhospitable stretch.", "once more to return \"to port.\" The landing, indeed, might be a matter\nof difficulty; but with the good prospect before them of once again\nstanding on terrestrial shores, they had nothing to do at present", "\"How strange,\" exclaimed Hector Servadac, \"that after sailing all this\ntime over sea where we expected to find land, we have at last come upon\nland where we thought to find sea!\"", "In a mystery every one found himself upon the earth again. They could\nnot explain it, but here they were once more upon terrestrial soil; in\na swoon they had left the earth, and in a similar swoon they had come\nback!", "It was half-past seven in the morning, when they set their foot upon\nthis untried land. The bit of strand was only a few square yards in", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "Upon re-embarking, the bewildered explorers began to discuss the\nquestion whether it would not now be desirable to make their way back", "Gradually, but uninterruptedly, life and spirits continued to revive,\nand by the end of the month Servadac and his little colony had regained", "\"A joyful sight, gentlemen!\" he exclaimed. \"It will give us unbounded\npleasure to shake hands again with some of our fellow-creatures. You, no\ndoubt, have escaped the same disaster as ourselves.\"", "Upon returning to the shore, it was arranged that the whole of the\nlittle colony should forthwith assemble at the gourbi. The Spaniards", "But not a day, not an hour, was to be lost now. The steam-launch\nreturned to Gourbi Island, and preparations were forthwith taken in hand", "France, Europe, nay, the whole world was more than eighty millions of\nleagues away from Gourbi Island; as gently and cautiously as he could", "\"Yes, Ben Zoof, in Algeria; and not far from Mostaganem.\" Such were the\nfirst words which, after their return to consciousness, were exchanged\nbetween Servadac and his orderly.", "of it. On consulting their instruments, they found that they must have\ntraveled close upon a hundred leagues since they started, and they\nresolved to slacken their speed. The sails were accordingly taken in", "It was now the turn of the captain and the count to look surprised. \"Are\nwe not, then, in Corfu?\" they asked.\n\n\"You are at Gibraltar,\" replied the colonel.", "The boat was lowered and manned by the four sailors; Servadac,\nTimascheff and Procope were quickly rowed ashore, and lost no time", "In fact, they were scarcely more than a mile from Mostaganem, and in\nthe course of an hour, when they had all recovered from the bewilderment", "The conversation dropped.\n\nA few hours later the man on watch announced that Gourbi Island was in\nsight.\n\n\n\nCHAPTER XVIII. AN UNEXPECTED POPULATION" ], [ "\"Yes,\" continued the professor, \"Gallia is a periodic comet, and\nallowing for the perturbations to which it is liable from the attraction\nof Mars and Jupiter and Saturn, it will return to the earth again in two\nyears precisely.\"", "All previous hypotheses, then, were now forgotten in the presence of the\none great fact that Gallia was a comet and gravitating through remote", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "By the expansive action of the inner heat, Gallia, like Gambart's comet,\nhad been severed in twain; an enormous fragment had been detached and\nlaunched into space!", "\"Plausible enough,\" answered Count Timascheff; \"and it is to this comet\nthat our scientific friend here has given the name of Gallia.\"", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "Palmyrin Rosette had associated the name of Gallia, not with their\npresent home, but with what he called \"my comet\"; and that theory being", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "of advance on its way back towards the sun. He found that Gallia had\nre-crossed the orbit of Jupiter, but was still at the enormous distance", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "\"Better than that!\" cried out the professor, triumphantly; \"we are going\nto weigh Gallia with it; my comet.\"", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "The deviation, however, was not great; it did not justify any\nanticipation that Gallia would merely graze the earth, as it had done\nbefore; it left it certain that the two bodies would inevitably impinge.", "\"Altogether, then,\" said Servadac, \"we seem to have settled it to our\nentire satisfaction that we must be the population of a young little\nworld called Gallia. Perhaps some day we may have the honor of being\nregistered among the minor planets.\"", "Thus, the general conclusion arrived at by the Gallian Academy of\nScience was this: That on the night of the 31st of December, a comet,", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "and if so, was it implied that the name of the comet itself was Gallia,\nand were they mistaken in supposing that such was the name given by the", "On the 15th the comet crossed the orbit of Mars, at the safe distance\nof 56,000,000 leagues; but during that night the community thought", "On the 1st of November Gallia and Jupiter were 40,000,000 miles apart.\nIt was little more than ten weeks to the 15th of January, when the" ], [ "And well might he be alarmed, for Ben Zoof had sprung to a height of\nforty feet into the air. Fearful of the consequences that would attend", "muscular effort that he made carried him in his turn to an altitude of\nthirty feet; in his ascent he passed Ben Zoof, who had already commenced", "\"Good Heavens!\" cried Ben Zoof, \"that leap must have been thirty feet at\nleast.\"\n\n\"True enough,\" replied the captain; \"I never saw such a jump.\"", "which appeared to lift up their bodies and give as it were, wings to\ntheir feet. If Ben Zoof had expressed his sensations in words, he would", "Meantime, with the agility of a monkey, Ben Zoof had clambered to the\ntop of a eucalyptus, and from his lofty perch was surveying the", "Ben Zoof's forbearance, and stooping down he caught up a huge stone,\nwhen to his surprise, he found that it was no heavier than a piece of", "most of their ordinary physical and mental energies. Ben Zoof, in\nparticular, roused himself with redoubled vigor, like a giant refreshed", "As soon as Ben Zoof caught sight of the rock on the western horizon, he\nwas all excitement. Just as if he were in a regiment going into action,", "On one occasion, when Ben Zoof had mounted his hobby-horse, and\nwas indulging in high-flown praises about his beloved eighteenth", "Ben Zoof's first care on the following morning was to provide a\ngood breakfast. To use his own phrase, he was as hungry as the", "disappeared entirely from the scene. It is needless to say that no\none troubled himself to institute a search after him, and, as Ben Zoof", "\"Ha! ha!\" laughed Ben Zoof, aloud; \"it will be fine sport to watch the\nold Jew's face, when he is made to comprehend that he is flying away\nmillions and millions of leagues from all his debtors.\"", "it little more than a hill; but Ben Zoof would have allowed himself\nto be hewn in pieces rather than admit that it was anything less than\nfifteen thousand feet in height.", "This was addressed to Ben Zoof, who was staring hard at him. \"No!\" said\nBen Zoof.", "his anticipations, and to Ben Zoof the going up in a balloon was the\nsupreme height of his ambition. The count and the lieutenant, of colder", "Ben Zoof burst into a roar of laughter. \"Bravo!\" he said, \"we should\nmake a good pair of clowns.\"", "However reluctantly, Ben Zoof obeyed. The door was unfastened, and Isaac\nHakkabut, enveloped in an old overcoat, shuffled into the gallery. In a", "On entering the cabin, Ben Zoof's first proceeding was to throw on the\nfire a liberal supply of coals, utterly regardless of the groans of poor", "He felt all over his body to perceive what injuries he had sustained,\nbut not a sprain nor a scratch could he discover. \"Where are you, Ben\nZoof?\" he shouted.", "One day he suddenly came upon Ben Zoof, and asked him whether he had no\nplan to propose. The orderly shook his head, but after a few moments'" ], [ "boiling at a temperature of 66 degrees was itself an evidence that the\ncolumn of air above the earth's surface had become reduced by one-third\nof its altitude. The identical phenomenon would have occurred at", "Servadac reflected. \"It cannot be that the fire is hotter,\" he said,\n\"the peculiarity must be in the water.\" And taking down a centigrade", "they hardly weighed more than they would if they had been mere shells;\nbut he was still more surprised when he saw that before the water had\nbeen two minutes over the fire it was at full boil.", "Meanwhile the temperature was steadily increasing. The captain kept his\nthermometer close at hand where he could repeatedly consult it, and on\nthe 15th he found that it registered 50 degrees centigrade in the shade.", "thermometer, which hung upon the wall, he plunged it into the skillet.\nInstead of 100 degrees, the instrument registered only 66 degrees.", "duly set upon the stove, and Ben Zoof was prepared to wait awhile for\nthe water to boil. Taking up the eggs, he was surprised to notice that", "After their prolonged immersion in the boiling water, the eggs were\nfound to be only just sufficiently cooked; the couscous was very much in", "foamed as though they were boiling. It was very certain that the yacht\nwould have found a difficulty in holding her own in such a swell.\nAnother thing that now struck Servadac was the extraordinary contraction", "With her steam at high pressure, the yacht made rapid progress towards\nthe east. The weather remained perfectly fine, the temperature\nbecame gradually cooler, so that there was little prospect of vapors", "\"Fourier estimates that even in those vast unfathomable tracts, the\ntemperature never descends lower than 60 degrees,\" said Procope.", "During the last fortnight the high temperature had been gradually\ndiminishing, until it now reached an average of 20 degrees Cent. (or 68", "The captain was quite right in his conjecture, that this new phenomenon\nwas caused by a diminution in the pressure of the atmosphere. Water", "\"Six degrees!\" said Servadac; \"that will not suit us. At this low\ntemperature we could not survive the winter. We must try deeper down. I\nonly hope the ventilation will hold out.\"", "\"Only about sixty-six pounds!\" said Isaac.\n\n\"Sixty-six pounds!\" cried Servadac. \"We haven't reckoned for this.\"\n\n\"Merciful heavens!\" began the Jew.", "screw being propelled, on the Oriolle system, by means of a boiler,\nsmall but very effective. Early next morning, this handy little craft\nwas sufficiently freighted with coal (of which there was still about ten", "the hot lava came in contact with it, the water was in a continual\nstate of ebullition, and the fish that abounded in its depths defied", "in its strangely modified condition, would fail to supply sufficient\noxygen, and that the stove, in consequence, might not fulfill its\nfunction. But no; the fire was lighted just as usual, and fanned into", "established fact that water, under this condition of absolute stillness,\nwill remain uncongealed at a temperature several degrees below zero,\nwhilst experiment, at the same time, shows that a very slight shock will", "This unprecedented temperature very soon began to take effect upon the\nproducts of the soil. The sap rose rapidly in the trees, so that in the", "last few days, the thermometer had been registering an average of about\n6 degrees below zero, and it had become matter of experience that the\nstove, although replenished with all the wood that was available, was" ], [ "In these retired quarters the astronomer took up his abode. It was on\nall hands acknowledged to be advisable to let him go on entirely in his", "END OF FIRST BOOK\n\n\n\n\nBOOK II.\n\n\nCHAPTER I. THE ASTRONOMER", "Before long the astronomer roused himself a little more, and glanced\ninquiringly about him, but soon relapsed into his comatose condition.", "likely to suit his requirements; but at length a little nook was found\nin the side of the cavern just large enough to hold an armchair and\na table, and in this the astronomer was soon ensconced to his entire", "The astronomer slept on. Meanwhile, the three together had no\nhesitation in examining his papers, and scrutinizing the figures on his", "astronomer seemed pleased with the proposal, and at once commenced a\nverbose and somewhat circumlocutory address, of which the following\nsummary presents the main features.", "The astronomer had hardly patience to hear him to the end. \"And what do\nyou say is your surmise as to your present position?\" he asked.", "Here they found the professor, who, startled by the sudden cold, had\nbeen fain to make a precipitate retreat from his observatory. Now would", "But it was no time for deliberation. Not a moment was to be lost in\ngetting the unconscious astronomer away from his desolate quarters.", "It was now all-important to learn whether the astronomer had been able\nto continue his observations, and whether he had learned sufficient of", "When the rubbing had been continued without a moment's intermission for\nthe best part of half an hour, the astronomer heaved a faint sigh, which", "The astronomer, correct in his prognostications, ought to have been the\nmost proud and contented of philosophers; his pride and contentment", "entirely to the study of astronomy. He endeavored to obtain a post\nat the Observatory, but his ungenial character was so well known in\nscientific circles that he failed in his application; however, having", "Without noticing the general smile which the novel date provoked, the\nastronomer left the hall, and retired to his observatory.\n\n\n\nCHAPTER V. WANTED: A STEELYARD", "an observatory and where he might prosecute his studies without\ndisturbance. A general search was instituted, and before long they were\nlucky enough to find, about a hundred feet above the central grotto, a", "of his telescope till he was all but paralyzed. But what he felt more\nthan anything was the want of some retired apartment, where he could\npursue his studies without hindrance or intrusion.", "cared so little to quit his observatory; for throughout those calm,\nclear Gallian nights, when the book of the firmament lay open before\nhim, he could revel in a spectacle which no previous astronomer had ever", "The only intelligible words which the astronomer had uttered had been,\n\"My comet!\"", "with regard to the adjacent stars, and the astronomer's heart began to\nleap at the thought that the renown of the discovery of a new planet\nwould be associated with his name.", "Never failing to turn to the best advantage the few intervals when the\nmist lifted a little, the astronomer would at the same time cast an" ], [ "dimensions that a good walker might make a circuit of them in four and\ntwenty hours; consequently Gallia, being of superior volume, might be\nsupposed capable of exercising a power of attraction upon any of these", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Beneath their feet was extended the basin of the Gallian Sea. An\ninconsiderable speck to the north marked the site of Gourbi Island.", "Gallia's movements: he had estimated her distance from the sun; he had\ncalculated the diminution of her tangential speed; but there was nothing\nto show that he had arrived at the conclusions which were of the most", "\"And the next line,\" said the lieutenant, after reading it aloud,\n\"apparently registers the distance traversed by Gallia, the new little", "\"And probably,\" replied the lieutenant, \"as we ascend we shall find not\nonly snow but ice. We must suppose this Gallia of ours to be a sphere,", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "CHAPTER XIII. DREARY MONTHS\n\n\nHenceforth, then, with a velocity ever increasing, Gallia would\nre-approach the sun.", "During the months of July and August, Gallia advanced 164,000,000\nleagues along her orbit. At night the cold was still intense, but in", "the earth, which ordinarily are affected by atmospheric influence, and\nliable to slight intermissions of their severity at various shiftings\nof the wind, Gallia's winter was caused by her immense distance from the", "On the 15th of December, Gallia was 276,000,000 leagues from the sun,\nand, as it was approximately to the extremity of its axis major, would", "Gallia's path through space to make him competent to determine, at least\napproximately, the period of its revolution round the sun. With as much", "where they had picked up the little Italian girl; and the site of\nthe tomb of Saint Louis on the coast of Tunis. Around these there was\nstretched out the full extent of the Gallian Sea, which apparently", "Gallia from the sun, and the number of leagues she had traversed since\nthe receipt of the last mysterious document, there were no means of\njudging; the extent of diminution in the apparent disc of the sun did", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "But Gallia had a narrow destiny. She was not to be allowed to wander\naway into the range of attraction of another center; nor to mingle with", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "July had now arrived. During the month Gallia's advance along its orbit\nwould be reduced to 22,000,000 leagues, the distance from the sun at the" ], [ "on by a system of false weight. That deceitful steelyard had been the\nmainspring of his fortune. But when it had become his lot to be the", "As soon as the professor had recovered his breath, exhausted by his\nexertions, he said, \"The old reprobate, the rascal has cheated us! His\nsteelyard is wrong! He is a thief!\"", "\"Why, they will weigh it with my steelyard, of course. There is no other\nbalance here.\" And as the Jew spoke, the professor fancied he could\ndetect the faintest of sighs.", "He suspended the money bag to the hook; the needle oscillated, and\nstopped. \"Read it off!\" he said.\n\nThe weight registered was one hundred and thirty-three grammes.", "And, moaning and groaning, the miserable man was driven to make up the\nfull weight as registered by his own steelyard. He had to repeat the", "But heedless of any interruption, the professor continued, \"False\nweights! That confounded steelyard! It gave a false result! The mass was", "\"There is nothing else to weigh it with; you know that well enough, old\nShechem,\" said Ben Zoof. The steelyard was then produced; a tray was", "The Jew stammered again, and began to object. \"It is a very delicate\ninstrument, your Excellency. The cold, you know, the cold may do injury\nto the spring; and perhaps you are going to use it to weigh something\nvery heavy.\"", "make his dupes. Ben Zoof, in particular, was never wearied of telling\nhim how on his return to the world he would be prosecuted for using\nfalse weights, and would certainly become acquainted with the inside", "A spring balance, fitted with a hook, held the article to be weighed;\na pointer, revolving on a disc, indicated the weight of the article.", "\"Yes!\" echoed the professor, impatiently; \"a steelyard.\"\n\n\"Have you not one?\" asked Servadac.\n\n\"To be sure he has!\" said Ben Zoof.", "suspended to the hook, and upon this coffee was thrown until the needle\nregistered the weight of one pound. Of course, it took seven pounds of\ncoffee to do this.", "Hardly a minute elapsed before the Jew was back again, carrying his\nprecious steelyard with ostentatious care. It was of an ordinary kind.", "\"Then an ordinary pair of scales, being under the influence of\nattraction, I suppose, would not answer your purpose,\" submitted the\nlieutenant.", "\"I believe old Hakkabut has a steelyard on board his tartan,\" said Ben\nZoof, presently.", "purpose than to weigh a kilogramme, which (considering how much lighter\neverything had become) could not possibly put the slightest strain upon\nthe instrument.", "Professor Rosette was manifestly right in asserting that such a machine\nwould register results quite independently of any change in the force\nof attraction. On the earth it would have registered a kilogramme as a", "\"There, gentlemen, one hundred and thirty-three grammes! Less than\none-seventh of a kilogramme! You see, consequently, that the force of", "Servadac knew well enough that the Jew was holding out only for a good\nbargain, and assured him that the steelyard was required for no other", "however, had his own special object in view, and would not be diverted.\nThe Jew fetched his steelyard, and a packet of the tobacco was suspended\nto it." ], [ "Although certainly expected, the catastrophe could not fail to cause a\nsense of general depression. Well-nigh one of their last ties to Mother\nEarth had been broken; the ships were gone, and they had only a balloon\nto replace them!", "Still no ship appeared; and Captain Servadac, after the example of all\nprevious Crusoes, began to consider it advisable to investigate the", "any other condition for supporting life, and whether it was likely ever\nagain to approach to the earth, were all questions that there were no\nmeans of determining. For themselves the all-important problem was--what", "\"Then to-day,\" said the astronomer, speaking with the greatest\ndeliberation--\"to-day we are just three millions of leagues away from\nEurope.\"\n\nThe Jew was utterly crestfallen.", "No longer, then, could there be any doubt as to the annihilation of\na considerable portion of the colony. Not merely had there been a", "us long in the dark, if he thought we were not going back to the earth\nagain. The greatest satisfaction he could have would be to inform us\nthat we had parted from the earth for ever.\"", "\"Our lack of instruments,\" said the count, \"is much to be deplored; it\nbaffles our investigations in every way.\"\n\n\"Ah, never mind! Keep up your courage, count!\" said Servadac, cheerily.", "revolved) enjoyed a position that gave it a permanent summer. But no\nadvantage of this kind could compensate for the remoteness of the sun.\nThe temperature fell steadily; already, to the discomfiture of the", "The disappointment was very great. Unless some means of protection were\nspeedily devised, death seemed to be staring them in the face. Were the", "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously", "The diminution of the force of attraction at the earth's surface was so\nconsiderable that the ball had sped beyond the horizon.\n\n\"Incredible!\" ejaculated the colonel.", "As to the fulfillment of the professor's prediction of an ultimate\nreturn to the terrestrial sphere, that was a point on which it must\nbe owned that the captain, after the first flush of his excitement was\nover, was not without many misgivings.", "of the expedition proving disastrous, the little colony would need his\nservices alike as governor and protector, and overcoming his reluctance\nto be left out of the perilous adventure, was prevailed upon to remain", "provisions would soon be running short, and that their stock of coffee,\nsugar, and tobacco would want replenishing. Servadac's mind, of course,", "days had been only six hours long, and that the weight of the atmosphere\nwas so much diminished? Had he observed that the moon had quite\ndisappeared, and that the earth had been in imminent hazard of running", "existed to form a connecting link with the territory of Tenes, which had\nentirely disappeared. The result was that Captain Servadac was driven\nto the irresistible conclusion that the tract of land which he had been", "last; every hope depended upon the land again becoming productive; at\npresent, it seemed impossible to determine, even if Gallia's orbit\nwere really elliptic, when she would reach her aphelion, and it was", "Moments were precious; but Hector Servadac resolved that he would adopt\na device to secure that at least some record of their excursion in solar\ndistances should survive themselves.", "elements of Nerina had been calculated long since by astronomers on the\nearth. It was about as unlucky a speech as he could possibly have made.\nThe professor glared at him fiercely.", "other languages that had been remarkable in the two former papers. The\nconcluding line, with its intimation of failing provisions, amounted\nalmost to an appeal for help. Captain Servadac briefly drew attention" ], [ "and had been occupied by Spaniards, had since been abandoned, and was\ntherefore free to the first occupant who should lay claim to it. To", "with the limits and condition of the section of Algerian territory of\nwhich they seemed to be left as the sole occupants, they dismounted, and", "It was half-past seven in the morning, when they set their foot upon\nthis untried land. The bit of strand was only a few square yards in", "be carried on in the open air.\" And hurriedly he left the room. Followed\nimmediately by the others, he led the way to a level piece of ground,\nwhich he considered he might fairly claim as neutral territory.", "\"My claim is that of first occupant.\"\n\n\"But do you not think that the party of Spaniards now resident with me\nmay at some future time assert a prior right to the proprietorship?\"", "in tracing the boundaries of their new domain; and they had ascertained\nbeyond a doubt that they were the sole human inhabitants left upon the\nisland.", "resources of his domain. The new territory of which he had become the\nmonarch he named Gourbi Island. It had a superficial area of about", "The extreme nakedness of the entire tract was likewise very\nextraordinary. Elsewhere, in various quarters of the globe, there may", "his eyes across the boundless vista of the mysterious territory. \"It\ncannot be!\" he exclaimed. \"We must somehow have mistaken our bearings.\nTrue, we have encountered this barrier; but France is there beyond! Yes,", "existed to form a connecting link with the territory of Tenes, which had\nentirely disappeared. The result was that Captain Servadac was driven\nto the irresistible conclusion that the tract of land which he had been", "he could not get rid of the impression that someone was laying an\nunwarranted claim to its proprietorship, or that the individuals before\nhim were intruders upon his own proper domain.", "Eagerly and anxiously did they look around. To the south there was\nnothing but the sea they had traversed; to the north, nothing but one\ndrear, inhospitable stretch.", "But what struck the explorers more than anything was the appearance of\nsingular newness that pervaded the whole of the region. It all seemed", "there did not appear any reason to question but that eight hundred\nacres of rich soil, under good management, would yield them all an ample\nsustenance. The only critical matter was how long the cold season would", "circumscribed territory that they must seek an explanation of what had\nso strangely transpired.", "Generous and altogether unselfish as this sentiment really was, it was\nobviously to the general interest that they should become acquainted,\nand if possible establish friendly relations, with any human inhabitant", "and insisted upon each member of the party undertaking some special\nduty to fulfill. There was plenty to do. The domestic animals required\na great deal of attention; a supply of food had to be secured and", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "miles that lay between the gourbi and the place of rendezvous. They\ndid not exchange a word, but each was conscious of an unusual buoyancy,", "that low-lying shore be quite invisible at such a distance, but it was\ncertain, moreover, that it lay two degrees at least still further\nsouth. It was soon observed that this newly discovered land was of" ], [ "Being only about twelve miles distant from Gibraltar, the little\ngarrison at Ceuta had felt itself by no means isolated in its position;", "\"Which?\" said the man. \"The officer in command of Ceuta?\"\n\n\"Yes, if there is one.\"\n\n\"I will acquaint him with your arrival,\" answered the Englishman, and\ndisappeared.", "And now came a singular part of the story. Negrete and his companions\nhad meanwhile received a visit from two English officers from Gibraltar.", "Of all these spots only two were known to be inhabited: Gibraltar, where\nthe thirteen Englishmen were amply provisioned for some years to come,", "The fragment included Ceuta and Gibraltar, with the two English\ngarrisons!\n\n\n\nCHAPTER XVII. THE VENTURE MADE", "way once more towards Gibraltar, what do you say to our renewing our\nacquaintance with the Englishmen? They will be interested in the result\nof our voyage.\"", "On the eventful night of the 1st of January the _Hansa_ had been at\nCeuta, the point on the coast of Morocco exactly opposite Gibraltar. The", "Gibraltar, and their claim was indisputable. But the island of Ceuta,\nwhich before the shock had commanded the opposite side of the strait,", "Servadac could no longer entertain a doubt that the Englishmen had\nforestalled him in the occupation of Ceuta. Provisions and fuel had", "\"Yes, sir, Major Oliphant, officer in command of the garrison at Ceuta,\"\nwas the Englishman's reply. \"And to whom,\" he added, \"may I have the\nhonor of speaking?\"", "It was now the turn of the captain and the count to look surprised. \"Are\nwe not, then, in Corfu?\" they asked.\n\n\"You are at Gibraltar,\" replied the colonel.", "mate and three sailors had all gone on shore, and, in common with\nmany of their fellow-creatures, had entirely disappeared; but the\nmost projecting rock of Ceuta had been undisturbed by the general", "Old World were four small islands: the bit of Gibraltar occupied by the\nEnglishmen; Ceuta, which had just been left by the Spaniards; Madalena,", "The project was the annexation of Ceuta to the French dominion. The\nEnglishmen, rightly enough, had continued to occupy the fragment of", "Except the thirteen Englishmen who had been left at Gibraltar, every\nliving creature had taken refuge in the dark abyss of the volcano's\ncrater.\n\nAnd with those Englishmen, how had it fared?", "emergency, they might, as a last resource, betake themselves to\nGibraltar, and there seek a refuge; but their former reception had\nnot been of the kindest, and they were little disposed to renew an", "evidently been conveyed thither in the boat from Gibraltar before the\nsea had frozen, and a solid casemate, hollowed in the rock, had afforded", "Gibraltar. Not that any doubt was entertained as to their having been\nable successfully to cope with the rigors of the winter; but Captain", "but by frequent excursions across the frozen strait, and by the constant\nuse of the telegraph, had kept up their communication with their\nfellow-countrymen on the other island. Colonel Murphy and the major had", "vehement expressions of indignation, and reiterating his asseveration\nthat a fragment of Gibraltar was still traversing the regions of space,\ncarrying thirteen Englishmen upon its surface, and concluding by saying" ], [ "\"You mean that in two years after the first shock, Gallia will meet the\nearth at the same point as they met before?\" said Lieutenant Procope.\n\n\"I am afraid so,\" said Rosette.", "\"Yes,\" continued the professor, \"Gallia is a periodic comet, and\nallowing for the perturbations to which it is liable from the attraction\nof Mars and Jupiter and Saturn, it will return to the earth again in two\nyears precisely.\"", "The deviation, however, was not great; it did not justify any\nanticipation that Gallia would merely graze the earth, as it had done\nbefore; it left it certain that the two bodies would inevitably impinge.", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "\"Gallia out of place?\" repeated Servadac, agitated with alarm.\n\n\"I did not say Gallia,\" replied Rosette, stamping his foot impetuously;\n\"I said Nerina.\"", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "\"Now, gentlemen,\" said Professor Rosette, \"we are in a position to\ncomplete our calculation; we can now arrive at Gallia's attraction,\ndensity, and mass.\"\n\nEveryone gave him his complete attention.", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "of advance on its way back towards the sun. He found that Gallia had\nre-crossed the orbit of Jupiter, but was still at the enormous distance", "The following day was the 1st of August, or, according to Rosette,\nthe 63rd of April. In the course of this month Gallia would travel", "On the 1st of November Gallia and Jupiter were 40,000,000 miles apart.\nIt was little more than ten weeks to the 15th of January, when the", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "alteration would ensue in the rate of Gallia's velocity; but Rosette, no\ndoubt, could answer the question directly, and the time had now", "\"A twelvemonth! Not a Gallian twelvemonth?\" exclaimed Rosette.\n\nServadac looked bewildered. Lieutenant Procope could not suppress a\nsmile.", "Rosette thus found himself able to calculate the date at which the comet\nwould reach its perihelion, and, overjoyed at his discovery, without", "from Rosette's continued irritation. Had the comet been in any way\nprojected from its course, so as to be likely to fail in coming into\ncontact with the earth, the professor would have been quite unable", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"" ], [ "Unable, indeed, the Gallians were to realize all the marvels of this\nstrange world. After all, they were practically a thousand times further", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "\"I deny it,\" said Servadac. \"Gallia has lost its chance of getting back\nto the earth. Gallia has nothing to do with you. Gallia is mine; and you\nmust submit to the government which I please to ordain.\"", "Gallia, some means could not be devised by which the dreariness of a\nsecond residence in the recesses of the volcano might be escaped. Would\nnot another exploring expedition possibly result in the discovery of", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "But Gallia had a narrow destiny. She was not to be allowed to wander\naway into the range of attraction of another center; nor to mingle with", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "have resisted hitherto the grasp of the most powerful reflectors. No;\nGallia was neither to pass beyond the limits of the solar system, nor\nto travel out of sight of the terrestrial sphere. Her orbit was", "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "colony, and this, although valueless now, would be worth as much as ever\nif the proper condition of things should be restored; accordingly, he\nset his heart on getting all the monetary wealth of Gallia into his", "\"Because we are doing exceedingly well as we are.\" The professor stamped\nhis foot upon the ground, by way of emphasis, and added, \"If I had my\nwill, Gallia should never return to the earth again!\"", "\"Because, I tell you, the mass of Gallia is so inferior to that of the\nmoon, that Gallia would become the moon's satellite; the moon could not\npossibly become hers.\"", "Lieutenant Procope, plainly visible to the naked eye. The inference was\nirresistible that Gallia was receding from the sun, and traveling far\naway across the planetary regions.", "the inhabitants of the earth, who could by no means be certain that a\nsecond collision would be comparatively so harmless as the first. Even\nto the Gallians themselves, much as they looked forward to the event,", "to maintain them in good health, and there seemed no reason to doubt\nthat, when Gallia returned to the earth, the total of its little\npopulation would still be complete.", "consideration of the means to be adopted to enable the inhabitants of\nGallia to survive the terrible cold, which, in their ignorance of the\ntrue eccentricity of their orbit, might, for aught they knew, last for" ], [ "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "their master, wherever he went. The Spaniards, though they would have\nbeen unconcerned to know that they were to remain upon Gallia, were\nnevertheless looking forward with some degree of pleasure to revisiting", "Unable, indeed, the Gallians were to realize all the marvels of this\nstrange world. After all, they were practically a thousand times further", "These resources were, first, the provisions of the _Dobryna_, consisting\nof preserved meat, sugar, wine, brandy, and other stores sufficient for", "to maintain them in good health, and there seemed no reason to doubt\nthat, when Gallia returned to the earth, the total of its little\npopulation would still be complete.", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "way of nourishment to offer them, but their instinct impelled them to\nhaunt now the very habitations which formerly they would have shunned.\nScraps of food were thrown to them from the galleries; these were", "All crowded round, eager to hear the news. In the struggle with the\ngulls the bag had been partially torn open, but still contained the\nfollowing dispatch:\n\n\"Gallia!", "CHAPTER VII. GALLIA WEIGHED\n\n\nA quarter of an hour later, the visitors to the _Hansa_ had reassembled\nin the common hall of Nina's Hive.", "\"And the next line,\" said the lieutenant, after reading it aloud,\n\"apparently registers the distance traversed by Gallia, the new little", "all difficulties in the way were overcome, and Zephyr and Galette were\nconducted down the crater, where they were installed in a large hole and\nprovided with forage, which was still abundant.", "\"And probably,\" replied the lieutenant, \"as we ascend we shall find not\nonly snow but ice. We must suppose this Gallia of ours to be a sphere,", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "round by the south to Mostaganem, we must go eastwards to Tenes.\" And\nforthwith they started. Beginning to feel hungry, they had no hesitation", "The concert was succeeded by a ball, unquestionably the first that had\never taken place in Gallia. The Russian sailors exhibited some of their", "wheat, maize, and rice; so that for the governor and his population,\nwith their two horses, not only was there ample provision, but even if\nother human inhabitants besides themselves should yet be discovered,", "\"Here is a trace of fresh water, the first that Gallia has exhibited,\"\nsaid the count to his companions, as they toiled up the precipitous\npath.", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate" ], [ "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "Thirteen days, then--twenty-six of the original Gallian days, fifty-two\nof the present--was all the time for preparation that now remained.\nEvery preliminary arrangement was hurried on with the greatest\nearnestness.", "CHAPTER VII. GALLIA WEIGHED\n\n\nA quarter of an hour later, the visitors to the _Hansa_ had reassembled\nin the common hall of Nina's Hive.", "The following day was the 1st of August, or, according to Rosette,\nthe 63rd of April. In the course of this month Gallia would travel", "All crowded round, eager to hear the news. In the struggle with the\ngulls the bag had been partially torn open, but still contained the\nfollowing dispatch:\n\n\"Gallia!", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "CHAPTER XIII. DREARY MONTHS\n\n\nHenceforth, then, with a velocity ever increasing, Gallia would\nre-approach the sun.", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "\"And the next line,\" said the lieutenant, after reading it aloud,\n\"apparently registers the distance traversed by Gallia, the new little", "their master, wherever he went. The Spaniards, though they would have\nbeen unconcerned to know that they were to remain upon Gallia, were\nnevertheless looking forward with some degree of pleasure to revisiting", "\"Gallia, of course, is on her way to the earth. I told you so. But that\nJew is a rascal!\"", "The 1st of January, it is true, was not properly \"New Year's Day\" in\nGallia, but Captain Servadac, nevertheless, was very anxious to have it\nobserved as a holiday.", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "\"Beyond a question the documents have originated with him,\" assented\nthe lieutenant. \"Gallia was the word written at the top of every one of\nthem, and Gallia was the first word uttered by him in our hearing.\"", "During the four hours of daylight that still remained, the travelers\nrode about twenty-one miles from the river mouth. To their vast", "proceeded to establish the feasibility of his plan. \"If we can ascertain\nthe precise moment when the shock is to happen, and can succeed\nin launching ourselves a sufficient time beforehand into Gallia's", "There was a faint sigh, followed by a feeble voice, which uttered the\none word, \"Gallia?\"\n\n\"Yes, yes! Gallia!\" echoed Servadac, eagerly.", "Before the evening of this day closed in, a most important change was\neffected in the condition of the Gallian Sea by the intervention of", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"" ], [ "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously", "\"But allow me to repeat,\" insisted Servadac, \"that we are no longer on\nthe earth, although we expect to come in contact with it again in about\neight weeks.\"", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "29 years and 167 days, traveling at the rate of more than 21,000 miles\nan hour along an orbit measuring 5,490 millions of miles in length. His", "\"Simply this, captain: that since the earth entered her new orbit\nhalf the sixty-four days has already elapsed, and yet it is only just", "The circuit of the island had been now completed, and the explorers,\nafter a period of sixty hours, found themselves once more beside the", "of this zone had been traversed, and only two months remained before\nthe collision with the earth was to be expected. The temperature was now\nrarely below 12 degrees below zero, but that was far too cold to permit", "The 1st of January, it is true, was not properly \"New Year's Day\" in\nGallia, but Captain Servadac, nevertheless, was very anxious to have it\nobserved as a holiday.", "During the ensuing days the distance between the two planets continued\nto decrease, and it became more and more obvious that the earth, on her", "After all, they were but making a voyage--a strange, yet a transient,\nexcursion through solar regions hitherto untraversed; but if the", "On his return Servadac communicated to the count the result of his\nexpedition, and, though perfectly silent on the subject of his personal", "On the 20th, the distance between the two bodies had again sensibly\ndiminished. The captain had ceased to be surprised that no vessel", "Gradually, but uninterruptedly, life and spirits continued to revive,\nand by the end of the month Servadac and his little colony had regained", "The day following Servadac's return, he and the count and Lieutenant\nProcope met by agreement in the cave, formally to discuss what would be", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "\"We are coming to something!\" exclaimed Servadac. \"We have got a year of\nsomething like 2,880 days.\"", "During the four hours of daylight that still remained, the travelers\nrode about twenty-one miles from the river mouth. To their vast", "It was on the 12th of May that Rosette exhibited this result of his\nlabors to Servadac, the count, and the lieutenant, who visited his", "On the 4th of April, after an absence of about four days, the new\nsatellite, to Ben Zoof's great satisfaction, made its reappearance in", "distance we ourselves were from the sun on the 15th. It was on that day\nwe crossed the orbit of Mars.\"" ], [ "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously", "After all, they were but making a voyage--a strange, yet a transient,\nexcursion through solar regions hitherto untraversed; but if the", "than that of an ordinary railway-carriage, while the diminished force of\ngravity contributed to the swiftness. Except that the clouds of ice-dust\nraised by the metal runners were an evidence that they had not actually", "\"But allow me to repeat,\" insisted Servadac, \"that we are no longer on\nthe earth, although we expect to come in contact with it again in about\neight weeks.\"", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "Moments were precious; but Hector Servadac resolved that he would adopt\na device to secure that at least some record of their excursion in solar\ndistances should survive themselves.", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "In a mystery every one found himself upon the earth again. They could\nnot explain it, but here they were once more upon terrestrial soil; in\na swoon they had left the earth, and in a similar swoon they had come\nback!", "\"A fine piece of business we have made of this!\" said Ben Zoof, when he\nfound himself alone with his master.\n\n\"We will make our way back at once,\" replied Captain Servadac.", "Upon re-embarking, the bewildered explorers began to discuss the\nquestion whether it would not now be desirable to make their way back", "\"And now,\" continued Servadac, \"we will take the shortest way back to\nthe gourbi, and see what our horses think about it all.\"\n\n\"They will think that they ought to be groomed,\" said the orderly.", "us long in the dark, if he thought we were not going back to the earth\nagain. The greatest satisfaction he could have would be to inform us\nthat we had parted from the earth for ever.\"", "When every one, except the captain and his orderly, had taken their\nplaces, Servadac said, \"Get in, Ben Zoof.\"\n\n\"After you, sir,\" said Ben Zoof, respectfully.", "it an envelope of the earth's atmosphere, and that it is now traveling\nthrough the solar system in an orbit that does not correspond at all\nwith the proper orbit of the earth.\"", "Although certainly expected, the catastrophe could not fail to cause a\nsense of general depression. Well-nigh one of their last ties to Mother\nEarth had been broken; the ships were gone, and they had only a balloon\nto replace them!", "On his return Servadac communicated to the count the result of his\nexpedition, and, though perfectly silent on the subject of his personal", "\"Yes, indeed,\" replied Servadac; \"she is a charming little creature. I\nhardly know how we should have got on without her.\"\n\n\"What is to become of her when we arrive back at the earth?\"", "greatest advantage, and the travelers estimated that their progress\nwould be little under the rate of twelve leagues an hour. The motion of\ntheir novel vehicle was singularly gentle, the oscillation being less", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "turned over and clapped down right side up again upon the comet's\nsurface. Even ships pass uninjured through this remarkable somersault.\nThese events all belong frankly to the realm of fairyland." ], [ "In a mystery every one found himself upon the earth again. They could\nnot explain it, but here they were once more upon terrestrial soil; in\na swoon they had left the earth, and in a similar swoon they had come\nback!", "So intently had they each separately been following their own train of\nthought, that daylight reappeared almost before the travelers were aware", "After all, they were but making a voyage--a strange, yet a transient,\nexcursion through solar regions hitherto untraversed; but if the", "Their first impression was that they were cries of distress, and they\nwere greatly relieved to find that they were shouts of delight, which\nthe dryness and purity of the atmosphere caused to re-echo like a volley\nof musketry.", "They were all fairly bewildered.\n\n\"Where, then,\" cried Servadac eagerly, \"where are we?\"\n\n\"You are on my comet, on Gallia itself!\"", "before the announcement of the real truth. The first supposition, that\nthe rotatory axis of the earth had been subject to some accidental\nmodification, and the conjecture that replaced it, namely, that a", "in the length of the days; neither can they be unaware of the physical\nchanges that have transpired. They shall certainly be told that we are\nbeing carried away into unknown regions of space, and that this island", "us long in the dark, if he thought we were not going back to the earth\nagain. The greatest satisfaction he could have would be to inform us\nthat we had parted from the earth for ever.\"", "\"Our supposition,\" the captain replied, \"is this. We imagine that we\nare on a considerable fragment of the terrestrial globe that has been\ndetached by collision with a planet to which you appear to have given\nthe name of Gallia.\"", "Upon re-embarking, the bewildered explorers began to discuss the\nquestion whether it would not now be desirable to make their way back", "But as the aeronauts were being hurried on at a speed of 70 miles\na second, this vague aspect of the earth soon developed itself into", "\"But allow me to repeat,\" insisted Servadac, \"that we are no longer on\nthe earth, although we expect to come in contact with it again in about\neight weeks.\"", "It did, indeed, more than once occur to the minds both of Servadac\nand his friends that, if their condition should become one of extreme", "of it. On consulting their instruments, they found that they must have\ntraveled close upon a hundred leagues since they started, and they\nresolved to slacken their speed. The sails were accordingly taken in", "enlightened of them all, he was quite incapable of forming the least\nconception of the nature of what had occurred. The one thing upon which\nthey could not fail to be conscious was that they had no prospect of", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "incapable of clearing up the mysteries that shrouded the miracle, yet\nthey were convinced at the first glance that they had been returned to\nthe earth at the very identical spot where they had quitted it.", "could no longer resist the conviction that he was indeed millions and\nmillions of miles away from the earth, where he had carried on so varied\nand remunerative a traffic. It might be imagined that this realization", "days had been only six hours long, and that the weight of the atmosphere\nwas so much diminished? Had he observed that the moon had quite\ndisappeared, and that the earth had been in imminent hazard of running", "left the level surface of the ice, the captain and lieutenant might\nagain and again have imagined that they were being conveyed through the\nair in a balloon." ], [ "turned over and clapped down right side up again upon the comet's\nsurface. Even ships pass uninjured through this remarkable somersault.\nThese events all belong frankly to the realm of fairyland.", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "It soon became evident that the detached portion was not revolving\nround the comet, but was gradually retreating into space. Whether it\nhad carried with it any portion of atmosphere, whether it possessed", "that the internal convulsion had rent from the surface of the comet,\nand which was now many thousands of leagues away, pursuing the new orbit\ninto which it had been projected. During the hours of daylight it", "There was a short silence, at the end of which Servadac announced that\nthe volume of the comet was 47,880,000 cubic miles.", "By the beginning of October, the temperature had so far moderated that\nit could scarcely be said to be intolerable. The comet's distance was", "Without noticing the interruption, Servadac continued his own remarks,\n\"The comet then, I see, is to reach its aphelion on the 15th of January,\nexactly a twelvemonth after passing its perihelion.\"", "In one way \"Off on a Comet\" shows a marked contrast to Verne's earlier\nbooks. Not only does it invade a region more remote than even the", "comet would begin to re-approach the sun. Though light and heat were now\nreduced to a twenty-fifth part of their terrestrial intensity, so that", "of this zone had been traversed, and only two months remained before\nthe collision with the earth was to be expected. The temperature was now\nrarely below 12 degrees below zero, but that was far too cold to permit", "\"Just about 5,000 times less than the earth,\" observed the lieutenant.\n\n\"Nice little comet! pretty little comet!\" said Ben Zoof.", "revolved) enjoyed a position that gave it a permanent summer. But no\nadvantage of this kind could compensate for the remoteness of the sun.\nThe temperature fell steadily; already, to the discomfiture of the", "I suppose we must conclude that the enormous disc we observed on the\nnight of the catastrophe was the comet itself; and the velocity with\nwhich it was traveling must have been so great that it was hardly", "The 15th of January dawned; and the comet was 220,000,000 leagues from\nthe sun.\n\nGallia had reached its aphelion.", "The lieutenant looked disappointed.\n\n\"Although the orbit of the earth was unaltered,\" continued the\nprofessor, \"the result of the collision was the projection of the comet\ninto a new orbit altogether.\"", "\"My comet, my comet!\" said the voice, so low as to be almost inaudible,\nand the unfortunate man relapsed again into unconsciousness.", "\"I will tell you why it seems so. If the side of the comet on which we\nare resident impinges on the earth, it stands to reason that we must be\ncrushed to atoms by the violence of the concussion.\"", "temperature should fall below what prevails in those outlying regions\nbeyond our system where sky and air are not.\" \"And what temperature may\nthat be?\" inquired the captain with a shudder.", "As the comet approached the critical point of its career it cannot be\ndenied that there was an unacknowledged consciousness of alarm. Mutually", "suddenly encountered some obstacle. The nucleus of the comet, being\nexcessively hard, has done exactly what a ball would do fired with that" ], [ "A sudden thrill seemed to vibrate across the motionless waters to the\ndistant horizon, and the Gallian Sea had become a solid sheet of ice!", "\"Why, to get off the comet before the shock comes.\"\n\n\"How could you get off Gallia?\"\n\n\"That I can't say,\" replied the orderly.", "turned over and clapped down right side up again upon the comet's\nsurface. Even ships pass uninjured through this remarkable somersault.\nThese events all belong frankly to the realm of fairyland.", "become one uniform sheet of ice. One spot alone refused to freeze; this\nwas the pool immediately below the central cavern, the receptacle for\nthe stream of burning lava. It was entirely enclosed by rocks, and if", "that the internal convulsion had rent from the surface of the comet,\nand which was now many thousands of leagues away, pursuing the new orbit\ninto which it had been projected. During the hours of daylight it", "\"My comet, my comet!\" said the voice, so low as to be almost inaudible,\nand the unfortunate man relapsed again into unconsciousness.", "that just then would have rendered such a proposal very unadvisable. In\nthe first place, Lieutenant Procope was convinced that it could not be\nmuch longer now before the sea would be entirely frozen; and, besides", "I think, that before long the sea will be frozen over, and navigation\nwill be impossible. Already you have learned something of the\ndifficulties of traversing a field of ice, and I am sure, therefore, you", "I suppose we must conclude that the enormous disc we observed on the\nnight of the catastrophe was the comet itself; and the velocity with\nwhich it was traveling must have been so great that it was hardly", "There was a short silence, at the end of which Servadac announced that\nthe volume of the comet was 47,880,000 cubic miles.", "All previous hypotheses, then, were now forgotten in the presence of the\none great fact that Gallia was a comet and gravitating through remote", "As the comet approached the critical point of its career it cannot be\ndenied that there was an unacknowledged consciousness of alarm. Mutually", "Such was the end of the New Year's Day so happily begun.\n\n\n\nCHAPTER XII. THE BOWELS OF THE COMET", "The rest of the party followed, and were soon in the open air upon the\nrocks that overhung the shore. They descended to the level of the frozen", "Without noticing the interruption, Servadac continued his own remarks,\n\"The comet then, I see, is to reach its aphelion on the 15th of January,\nexactly a twelvemonth after passing its perihelion.\"", "The only intelligible words which the astronomer had uttered had been,\n\"My comet!\"", "\"How strange,\" exclaimed Hector Servadac, \"that after sailing all this\ntime over sea where we expected to find land, we have at last come upon\nland where we thought to find sea!\"", "The solidity of the ice was perfect; the utter stillness of the air at\nthe time when the final congelation of the waters had taken place had", "The lieutenant looked disappointed.\n\n\"Although the orbit of the earth was unaltered,\" continued the\nprofessor, \"the result of the collision was the projection of the comet\ninto a new orbit altogether.\"", "the slightest symptoms of a thaw. The surface of the sea remained as\nfrozen as ever, and the two vessels, high up on their icy pedestals,\nremained unaltered in their critical position." ], [ "The only individual whose soul seemed unstirred by the approaching earth\nwas Palmyrin Rosette. Leaning over the side of the car, he kept his eyes", "Neither did Palmyrin Rosette find leisure to take any share in the\nmutual intercourse. His occupation was far too absorbing for him to", "The only malcontent was Palmyrin Rosette. Day and night he persevered\nin his astronomical pursuits, declared his intention of never abandoning", "Consequently, Servadac and the count took it for granted that Palmyrin\nRosette declined their invitation.", "Very different was the case with Palmyrin Rosette. He avowed over and\nover again his intention of never quitting the nucleus of his comet. Why", "Palmyrin Rosette was in a furious rage. He had completed all his\ncalculations about Nerina, but that perfidious satellite had totally", "Palmyrin Rosette had associated the name of Gallia, not with their\npresent home, but with what he called \"my comet\"; and that theory being", "The shock came, and with it the results already recorded. Palmyrin\nRosette was suddenly separated from his servant Joseph, and when, after", "But meanwhile, a marvelous world, never before so close within the range\nof human vision, was revealing itself. No wonder that Palmyrin Rosette", "Palmyrin Rosette, after rejoicing in an approach nearer to Jupiter than\nany other mortal man had ever attained, was now to be privileged to", "Professor Rosette had been asked to attend; but he declined on the plea\nof taking no interest in the matter. Indeed, the disappearance of his", "commission for that purpose. From that commission the name of Palmyrin\nRosette was omitted, apparently for no other reason than his personal\nunpopularity. Furious at the slight, the professor resolved to set to", "Who can altogether be astonished that Palmyrin Rosette, with his burning\nthirst for astronomical research, should have been conscious of a", "Palmyrin Rosette scratched his head in perplexity, glaring round upon\nhis companions as if they were personally responsible for his annoyance.", "\"Falsehood!\" roared Rosette. \"Do you think I cannot see?\" And peering\ndown into the drawer which the Jew was vainly trying to close, he cried,", "There was no visitor to the Hive more regular than Rosette. He\nhad already directed his telescope to be moved back to his former", "Alluding to Rosette, Servadac took care to inform his companions\nthat, although the professor was always eccentric, and at times very", "\"Pshaw!\" said Rosette, disdainfully. \"A mole-hill like Montmartre would\nhave been ground to powder in a moment.\"", "in point of fact, the astronomer was none other than Professor Palmyrin\nRosette, Servadac's old science-master at the Lycee Charlemagne.", "\"If I wish it!\" exclaimed Rosette. \"Nothing of the sort! Of course a\nyear must have twelve months!\"\n\n\"Of course,\" said the captain." ], [ "A month passed away. Gallia continued its course, bearing its little\npopulation onwards, so far removed from the ordinary influence of human", "Twenty-seven minutes past two, and Gallia is only 72,000 miles from the\nterrestrial sphere; quicker and quicker is the velocity; ten minutes\nlater, and they are only 36,000 miles apart!", "CHAPTER XIII. DREARY MONTHS\n\n\nHenceforth, then, with a velocity ever increasing, Gallia would\nre-approach the sun.", "their master, wherever he went. The Spaniards, though they would have\nbeen unconcerned to know that they were to remain upon Gallia, were\nnevertheless looking forward with some degree of pleasure to revisiting", "Gallia would accomplish her revolution in precisely two years, and would\nmeet the earth, which would in the same period of time have completed\ntwo annual revolutions, in the very same spot as before. What would be", "Thirteen days, then--twenty-six of the original Gallian days, fifty-two\nof the present--was all the time for preparation that now remained.\nEvery preliminary arrangement was hurried on with the greatest\nearnestness.", "\"Where? On Gallia?\" asked the captain.\n\n\"No; on the earth.\"\n\n\"The earth! Pshaw! You know we shall never get there; our velocity is\nchanged.\"", "were expecting would probably be of unprecedented length; it was quite\nlikely that it would exceed the six months' duration by which many\narctic explorers have been tried; but the population of Gallia had", "\"I account for it in this way,\" answered Rosette: \"the earth was\ntraveling at the rate of 28,000 leagues an hour, and Gallia at the rate", "Gallia was now within 96,000,000 miles of the sun, consequently not much\nmore than 4,000,000 miles from the earth; and this interval was being", "Almost unconsciously, the voyagers in the _Dobryna_ fell into the habit\nof using Gallia as the name of the new world in which they became aware", "CHAPTER VII. GALLIA WEIGHED\n\n\nA quarter of an hour later, the visitors to the _Hansa_ had reassembled\nin the common hall of Nina's Hive.", "Unable, indeed, the Gallians were to realize all the marvels of this\nstrange world. After all, they were practically a thousand times further", "July had now arrived. During the month Gallia's advance along its orbit\nwould be reduced to 22,000,000 leagues, the distance from the sun at the", "During the months of July and August, Gallia advanced 164,000,000\nleagues along her orbit. At night the cold was still intense, but in", "On the 15th of December, Gallia was 276,000,000 leagues from the sun,\nand, as it was approximately to the extremity of its axis major, would", "\"And the next line,\" said the lieutenant, after reading it aloud,\n\"apparently registers the distance traversed by Gallia, the new little", "reached the edge of the crater, without more sense of exertion than if\nthey had traversed a couple of miles on level ground. Gallia had its\ndrawbacks, but it had some compensating advantages.", "Thirty-six hours later, the brave travelers were greeted by the\nacclamations of their fellow-colonists, who had been most anxiously", "the time in which Gallia makes one revolution round the sun--is equal in\nlength to two terrestrial years.\"" ] ]

[ "What do people believe the event to be?", "Which changes begin to occur after Gallia collided with Earth?", "How many people from the Earth end up picked up by Gallia? ", "What was Gallia's circumference?", "How did Rosette calculated the mass of Gallia?", "Which Earth nationalities were represented on Gallia?", "How did the Earth inhabitants survive on Gallia?", "How did the castaways return to Earth?", "Where on Earth did the castaways return?", "What planet did the comet Gallia touch?", "Weight loss made Ben Zoof jump how high?", "What caused water to boil at 66 degrees Celsius?", "Where was the astronomer found?", "What was Gallia's circumference?", "Who had rigged the spring scales?", "What was missing that caused the loss of hope for long-term colonization?", "What was considered an unclaimed territory?", "How did the Englishmen at Ceuta maintain connection to their Gibraltar base?", "When will Gallia again collide with the Earth per Rossete?", "Why couldn't the travelers colonize Gallia?", "What did the travelers primarily eat on Gallia?", "On what day did Gallia collect the travelers?", "On what day did the travelers return to Earth?", "What vehicle did the travelers use to return to Earth?", "What did the travelers believe happened before they realized they were no longer on Earth?", "Why did the sea on the comet not freeze at first?", "Why did the sea on the comet finally freeze over?", "Why did no one believe Palmyrin Rosette's predictions?", "How long were the travelers on Gallia?" ]

[ [ "They think it's an earthquake", "earthquake" ], [ "Weight loss, shortening of alteration of day and night, water began to boil at 66 degrees C", "A loss of weight and water boiling at lower temperatures " ], [ "36", "36" ], [ "2320 km", "It is 2320 kilometers " ], [ "He used a bag of 5-franc silver coins", "Scales and coins." ], [ "English, French, Spanish, and Russian", "French, English, Spanish, Russian." ], [ "They ate whatever animals were left", "They ate the animals." ], [ "They calculated the time of another collision between Earth and comet and left the comet in a balloon they made from the sails of their ship", "They made a hot air balloon and used it to leave the comet when it entered earth's atmosphere. " ], [ "Mostaganem, near Algeria", "algeria" ], [ "The Earth", "Earth." ], [ "Twelve meters", "12 meters" ], [ "The thinning of the atmosphere and the pressure drop.", "thinner atmosphere" ], [ "At the island of Formentera", "France" ], [ "2320 kilometers", "2320 km" ], [ "Isaac Hakkabut", "Isaac Hakkabut, the owner of the instrument" ], [ "Arable land", "arable land" ], [ "Ceuta", "Ceuta" ], [ "Through an optical telegraph.", "An optical telegraph." ], [ "January 1st, two years after the initial collision.", "January 1, two years after the first collision" ], [ "There was no land for crops", "because it lacked arable lands" ], [ "Animals", "Animals." ], [ "January 1st", "January 1, 188x" ], [ "January 1st", "January 1st." ], [ "A balloon", "They use a hot air balloon " ], [ "An earthquake", "There was an earthquake." ], [ "Stationary water resists freezing", "because the water resists freezing when rippled by the wind" ], [ "A stone was tossed into it", "A stone was thrown in it." ], [ "They couldn't see through the fog.", "because other astronomers found nothing due to the thick fog" ], [ "Two years", "Two years." ] ]

[ [ "Mason's pretty wife, FELICIA, appears in the doorway.", "The emotion of the parting with Mason catches up with\nher.\n\n ANDY\n Get a hold of yourself, Andy.", "Felicia watches her husband. She plainly loves him deeply --\nand is held and excited by his contradictions. They come\ncloser together, clinking their glasses, sipping.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "Andy, aware of his turmoil, takes his hand. Her hair is\ndone up in a businesslike style; she wears a jacket and\ncarries a briefcase. They cross to the front door --", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "Martha's crumpled form. Ford and Dunne hurry swiftly\ndown -- pick up her body, drag it a few feet to a", "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "Andy raises her face to Storm's, her eyes welling with\nemotion. He kisses her. They are standing there, just\ninside the front door, which has a wood bottom-half and a\nfrosted-glass top-half. Suddenly:", "Martha knows this is it -- life or death.\n\nShe hurls the cat into Ford's face; the CAT claws him,\nSHRIEKING. Martha knees Dunne in the balls, bolts --", "MARTHA (WOMAN)\n (responds to\n interrogation)\n I told you -- Andy's out of town.\n I just came by to pick up her cat.", "ANDY\n (calling out)\n Martha! Martha, it's me --", "The Old Lady never bats an eye.\n\n MRS. WADE\n (correcting her)\n You mean Mrs. Wade. O'Malley is\n the person you're looking for.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "ANDY\n (into phone)\n Pick up, Martha ... Pick up.\n\nNo luck. Andy hangs up.", "Already Sonny is most of the way back to sleep. Storm\nkisses his forehead --\n\n\nINT. MASTER BEDROOM - NIGHT", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "Storm turns back from the water surface, to his son and\nto the woman he loves. He sits (letting the boat drift\nwherever it wants to) and tugs Andy down beside him.", "Then he reaches across to his son, pulls the boy to him\nwith a playful headlock.\n\nFor a moment both Andy and Sonny are held in suspension,\nwondering what Storm will do or say.", "Clutching the cat, she strides for the door. Ford's foot\nslides the door shut. He and Dunne block Martha." ], [ "Mason's pretty wife, FELICIA, appears in the doorway.", "She picks up the phone. Dunne's enormous hand engulfs\nher wrist, forces her to put the phone back in the cradle.\nThe two cops stare at her penetratingly.", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "The cops don't budge. It's getting a little scary.\n\n MARTHA\n Then I'll get out.", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "O'Malley's eyes flash from Storm (over whom the medics\nare now working) to the corridor outside, at the end of\nwhich he can see several straggling cops and news people.\nHis mind is racing --", "Martha's crumpled form. Ford and Dunne hurry swiftly\ndown -- pick up her body, drag it a few feet to a", "office and out into the street in front of the hotel!\nAndy follows through the newly formed exit. People scream.\nChaos. The other cops react in pursuit of Storm and Andy.", "Andy raises her face to Storm's, her eyes welling with\nemotion. He kisses her. They are standing there, just\ninside the front door, which has a wood bottom-half and a\nfrosted-glass top-half. Suddenly:", "Storm lunges for his .45 on the nightstand. Suddenly\nLOUD and VIOLENT CRASH and the bedroom door is kicked in.\nTwo dark figures with shotguns leveled fill the door.", "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "Sonny plunges out just as both men OPEN FIRE. They pound\nROUND after ROUND into and through the window, blowing\nGLASS everywhere and ripping the windowframe and half the", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "The others glower as Holland pounds off into the rear of\nthe house. Dunne slings a cue ball the length of the\ntable, breaking the rack with a crack like a pistol shot.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "They do. Big Man collects tapes and camera from the\nbedside table, replacing them with large lumps of cocaine\nand cash. Then lie coolly places something on the night", "Storm hurls Andy so hard and fast it looks like she will\nland in pieces. He somehow ends up in front of her on\nthe floor as a masked man plunges through the front door", "Andy opens the door, reaches in for her jacket. Suddenly\nshe pauses.\n\nShe sees on the closet shelf, amid other clothing:\npoliceman's cap with a gold shield.", "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "Storm curiously turns his back on Trent for a moment, to\npick up handcuffs off the floor. Trent sees his last\nchance." ], [ "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "Then he reaches across to his son, pulls the boy to him\nwith a playful headlock.\n\nFor a moment both Andy and Sonny are held in suspension,\nwondering what Storm will do or say.", "Seeing the gunmen, Sonny in horror crawls under a car.", "Sonny has made his way into the parking area, amidst dozens\nof cars, but he has stopped -- looking back fearfully,\nworried about O'Malley. O'Malley bursts from the exit.", "O'Malley comes out too, more cautiously than his mother.\nHe is armed. He also hurries to Sonny, hugs him tight.\n\n SONNY\n Malley!", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "Sonny scoots to the windows, which are cracked open awning\nstyle. He peers out and down.\n\n\nSONNY'S POV", "Sonny plunges out just as both men OPEN FIRE. They pound\nROUND after ROUND into and through the window, blowing\nGLASS everywhere and ripping the windowframe and half the", "Nolan and Turner try to trap him, peering under the cars --\nbut Sonny is too agile and cat-like. Turner crouches down,\nspots Sonny.", "Sonny Storm, quiet and apprehensive, focuses on tearing\nopen the packet of mustard for his hot dog. He sits on\ntop of a battered suitcase.", "Nolan, gun in hand, watches incredulously. O'Malley\nstaggers another step. Sonny has crawled out from under\nthe car; he sees this. O'Malley staggers another step.", "SONNY\n (calls back to\n house)\n Daddy! I don't want you to go!\n\n\nMASON STORM", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "Jones and Ford pull masks over their faces and sprint for\nthe other doors. Both carry assault rifles. An enormous\npowerful third man (Joe Bear), his mask already in place,", "We see the three men confer urgently. O'Malley reacts\nwith extreme alarm. He hurries, with the two others,\ninto the building --", "Sonny snatches up the tape and leaps over the bench, racing\ntoward the rear doorway heading for the street.", "Storm jumps up -- turns Sonny over to Andy, hurrying them\ninto a nearby cab. The cab takes off.\n\n\nINT. CAB - MOVING" ], [ "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "the first one that's come out of a\n coma of this duration. You'll\n probably be on the news!\n (beat)", "His eyes open. He grimaces with pain, as if even the dim\nillumination of the ward blinds him. His eyes keep\nblinking and squeezing, his tongue working for saliva --", "ANDY\n (electrified)\n He did?\n\nIn a coma ward, this is headline news.", "His hand slowly rises, finds his face. He discovers the\nelectrodes, pausing to determine what they are, everything\na slow painful effort.", "SUPER: \"SEVEN YEARS LATER\"\n\n\nINT. (UCI) MEDICAL FACILITY - COMA WARD - NIGHT", "as another car carrying three men (including Jones, the\ncop we remember who answered Andy's phone call from the\ncoma ward) pulls up alongside. Ford points ahead, toward", "ANDY\n This is U.C.I. Medical Center.\n You've been in a coma. Your charts\n go back for seven years.", "JONES\n What is the change?\n\n ANDY\n (with enthusiasm)\n The patient has regained\n consciousness.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "happens. The man had no vital signs.\n With all the blood and excitement,\n I almost missed it myself. But we\n have a pulse now. Your man is alive,", "The nurses laugh. But Andy's glance toward Storm's bed\nis full of deep care and hope.\n\n\nINT. COMA WARD - CLOSE ON STORM - LATER", "ESPOSITO (V.O.)\n (on TV)\n -- This reporter was contacted\n personally by the now-infamous 'Coma", "He starts toward the kitchen. Andy looks very worried\nbut doesn't try to stop him. First step -- okay. Second --\nokay. Third -- blam! The cane slips and he falls flat on\nhis face. Too weak to break the fall.", "The team exits. Andy is alone in the ward with the\nimmobile patients -- and Storm. Storm groans and tries\nto lift himself onto an elbow.", "Storm back in bed. A knot of doctors finishes returning\nhim from their emergency resuscitation work. \"We'll leave\nhim here for tonight, where they've got the full support\nsetup.\" The team wraps up and begins to move off.", "Storm peers around. He is alone in a pretty room, with\nWestern and Oriental furnishings. He's safe; someone has\napparently put him to bed, seen that he's comfortable.\nHe remembers: the nurse ... Andy.", "Andy is left alone on the coma ward.\n\n\nINT. NURSES' STATION - NIGHT", "The emotion of the parting with Mason catches up with\nher.\n\n ANDY\n Get a hold of yourself, Andy.", "A BUZZER sounds on a bank of monitoring equipment. Andy\nglances up; a light flashes on one screen. She studies\nthe screen a moment, gives a perplexed look toward the\nward --\n\n\nINT. COMA WARD" ], [ "EXT. HOSPITAL - NIGHT\n\nAndy blasts through the exit doors with Storm on the\ngurney. She hauls ass with him into the parking lot --\n\n\nBACK TO FORD", "The team exits. Andy is alone in the ward with the\nimmobile patients -- and Storm. Storm groans and tries\nto lift himself onto an elbow.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "Jones and Ford pull masks over their faces and sprint for\nthe other doors. Both carry assault rifles. An enormous\npowerful third man (Joe Bear), his mask already in place,", "Mrs. O'Malley emerges from the nursing home wheelchair.\nSonny rushes to her ... they embrace joyfully.", "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "as another car carrying three men (including Jones, the\ncop we remember who answered Andy's phone call from the\ncoma ward) pulls up alongside. Ford points ahead, toward", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "Doctor -- and you're gonna help\n make it happen. Until he can give\n us some answers, the deader he is,\n the safer he is.", "grabs his arm and helps him back onto the couch. She\nexits the room and comes back momentarily with a bowl of\nrice and begins to try to feed him. Of course he takes", "office and out into the street in front of the hotel!\nAndy follows through the newly formed exit. People scream.\nChaos. The other cops react in pursuit of Storm and Andy.", "The killers take off.\n\n Converted to PDF by www.screentalk.org 51.\n\n\n\nINT. ARMSTEAD HOUSE - NIGHT", "O'Malley's eyes flash from Storm (over whom the medics\nare now working) to the corridor outside, at the end of\nwhich he can see several straggling cops and news people.\nHis mind is racing --", "The nurse is Martha -- Andy's friend from the hospital.\nShe holds a cat in her arms.", "Andy whips around, sucking air and falling back, knocking\nover an IV UNIT -- which SHATTERS on the floor!\n\nShe turns and sprints from the room.", "Martha knows this is it -- life or death.\n\nShe hurls the cat into Ford's face; the CAT claws him,\nSHRIEKING. Martha knees Dunne in the balls, bolts --", "Martha's crumpled form. Ford and Dunne hurry swiftly\ndown -- pick up her body, drag it a few feet to a", "Storm peers around. He is alone in a pretty room, with\nWestern and Oriental furnishings. He's safe; someone has\napparently put him to bed, seen that he's comfortable.\nHe remembers: the nurse ... Andy." ], [ "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "O'MALLEY\n (to Sonny, under\n his breath)\n Make sure your father gets this ...\n (to Nolan)\n Yeah. Me and my son are visiting\n my mother in New Mexico.", "O'MALLEY\n Trinity School in Ventura. Under\n my mother's maiden name, Wade. No\n one has any idea he's your son.", "O'MALLEY\n (shouts)\n Go! Sonny -- get outta here!", "of Sonny -- now aged 12 -- in a school environment,\nathletic fields, etc. O'Malley is with Sonny in some of\nthe shots, beaming, arm around the boy.", "O'Malley comes out too, more cautiously than his mother.\nHe is armed. He also hurries to Sonny, hugs him tight.\n\n SONNY\n Malley!", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "O'Malley watches Trent pass, weeping, escorted out by\npolice and aides.\n\nAcross the crowd O'Malley spots Captain Holland, who\napparently is the man he's searching for.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "O'MALLEY\n You know me, Storm. I never would've\n backed off. But there was Sonny to\n worry about too. What if they found\n him? What if they found you?", "Sonny has made his way into the parking area, amidst dozens\nof cars, but he has stopped -- looking back fearfully,\nworried about O'Malley. O'Malley bursts from the exit.", "O'MALLEY (O.S.)\n -- It's Sonny, all right. Believe\n how big he got? He can throw a\n football forty yards --", "Nolan, gun in hand, watches incredulously. O'Malley\nstaggers another step. Sonny has crawled out from under\nthe car; he sees this. O'Malley staggers another step.", "O'MALLEY\n (whisper, full\n of menace)\n Let me tell you something, you piss-", "O'Malley slip the tape from his pocket, placing it under\nSonny's Jacket on the bench without missing a beat, as he\ncalmly starts to rise.", "O'MALLEY\n He was the most unstoppable\n sonofabitch I ever knew.\n\n HOLLAND\n Well.\n\nHe got stopped tonight.", "O'MALLEY\n (eyeball to\n eyeball)\n Mason Storm is going to vanish,", "Still hugging Sonny, O'Malley shoves a bill at the cabbie.\nWhatever it is, the cabbie is thrilled. He boogies off\necstatically.", "O'MALLEY\n He made it to my house, the night\n you got shot. I hid him, played it", "O'Malley gets up, starts to move toward the men.\n\n Converted to PDF by www.screentalk.org 90." ], [ "Still listening. Can't place the voice. Punches \" eject,\"\nthe tape pops half-out. Into the driveway, Storm activates\nthe garage door remote.\n\n\nINT. GARAGE - NIGHT", "STORM\n I know that voice.\n\nWho the hell is it? He rewinds the tape --\n\n\nEXT. STREET - STORM'S HOUSE - NIGHT", "He reaches to Ford in the fountain, rips the mask off his\nface.\n\nHe recognizes the man.\n\n STORM\n I know this fuck. He's a cop!", "EXT. COMMERCIAL PIER - NIGHT", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "Storm studies her for a long beat. Then: a voice comes\nonto the phone line.", "It takes a beat before she realizes what it is. Then:\n\n Converted to PDF by www.screentalk.org 102.", "Calabrese becomes aware of Mikey checking out the noise;\nhe motions the conspirators to shut up, then signals Mikey\nto proceed. Mikey cocks his pistol, moves swiftly toward\nthe line of containers.", "He is less than forty yards away, looking lengthwise down\nthe car from its rear. A beat, as Storm picks up the\nsound before we do.\n\n Converted to PDF by www.screentalk.org 5.", "Converted to PDF by www.screentalk.org 67.\n\n\n\nsits on bed -- identical angle including TV to when he\nhalf heard the TV ad for Trent's campaign.", "Finally: the film that Storm shot that night seven years\nago on the wharf. Spliced with the audiotape -- with\nsubtitles including each speaker's name to make every\nword and identity clear. We see:", "A TV is on at the foot of the bed. Storm squints at the\ndigital clock beside him: 4:17 PM. Storm closes his eyes.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "It's driving him crazy that he can't make out the Shadow\nMen's faces. He peers around the wharf, looking for some\nbetter vantage point.", "After a beat, he manages to focus on the TV --\n\nTV SCREEN - \"GERALDO SHOW\" (FILE TAPE)", "TRENT (V.O.)\n (from TV)\n And you can take that to the bank!\n\nStorm misses this. He turns back to:\n\n\nTV SCREEN", "Starts his camera soundlessly whirring. He positions his\nhigh-tech directional mike, slipping on earphones.\n\n\nWHARF - CONSPIRATORS", "There is NOISE from various wharf MACHINERY on adjacent\npiers, but the high-tech listening equipment still brings\nin the sound with acceptable clarity.", "right now.\n (listens)\n Tell him it's Storm. Mason Storm." ], [ "O'Malley raises the tire iron.\n Nolan PUMPS him once, square in the\n chest, killing him.", "Nolan comes around the end of the car, sees O'Malley --\nstanding over the dead Turner with a tire iron in his", "O'Malley watches Trent pass, weeping, escorted out by\npolice and aides.\n\nAcross the crowd O'Malley spots Captain Holland, who\napparently is the man he's searching for.", "hand. It is clear O'Malley is about to die. But still\nhe staggers toward Nolan, raising the tire iron.", "Meanwhile a small crowd has gathered around the mortally\nwounded O'Malley.", "Nolan, gun in hand, watches incredulously. O'Malley\nstaggers another step. Sonny has crawled out from under\nthe car; he sees this. O'Malley staggers another step.", "O'MALLEY\n Calabrese? Calabrese's dead.\n\nStorm reacts.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "His head turns to squash as: a bloody O'Malley stands\nover him, bashing him with a tire iron!\n\nA crowd of bystanders scream in horror at this horrendous\nsight.", "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "O'Malley gets up, starts to move toward the men.\n\n Converted to PDF by www.screentalk.org 90.", "O'MALLEY\n (whisper, full\n of menace)\n Let me tell you something, you piss-", "O'MALLEY\n He was the most unstoppable\n sonofabitch I ever knew.\n\n HOLLAND\n Well.\n\nHe got stopped tonight.", "O'MALLEY\n Just seeing your ugly ass alive,\n that's enough for me.\n (beat)\n You wouldn't happen to have a beer\n around this joint --", "O'Malley's eyes flash from Storm (over whom the medics\nare now working) to the corridor outside, at the end of\nwhich he can see several straggling cops and news people.\nHis mind is racing --", "The cab driver flees for his life. O'Malley spins back,\ndraws and tries to fire at the oncoming Nolan and Turner --", "Converted to PDF by www.screentalk.org 24.\n\n\n\nO'Malley releases Holland, backs off, calming himself.\nThe men stare at each other.", "O'MALLEY\n He made it to my house, the night\n you got shot. I hid him, played it", "In front of the station, a cab is jacked up; the driver\nreplacing a flat. O'Malley starts to run toward Sonny\npast the cab, when suddenly:", "O'MALLEY\n\npushes his way toward Holland. Two uniformed cops in the\ncrush along the way. O'Malley comes up beside Holland." ], [ "O'Malley raises the tire iron.\n Nolan PUMPS him once, square in the\n chest, killing him.", "hand. It is clear O'Malley is about to die. But still\nhe staggers toward Nolan, raising the tire iron.", "Out of nowhere appears at the door opposite the one Holland\njust left by. He is dripping from the rain and has a .45\npointed at them with one hand, while with the other he", "There is a LOUD CRACK and scream as he lands on his head\nand neck, and then -- from the side, point-blank --another", "The others glower as Holland pounds off into the rear of\nthe house. Dunne slings a cue ball the length of the\ntable, breaking the rack with a crack like a pistol shot.", "Trent seizes the poker and does his most mighty Babe Ruth\nimpression. Just as Storm stands up, the poker comes\nflying. It looks like Storm is dead but somehow he steps", "Dunne falls to his knees and just stares. Storm does a\nflying kick to his chin, breaking his neck. The room now\nfinished, he turns and exits.\n\n\nINDOOR POOL", "But he gets too close to Storm, who snatches the poker\naway from him.\n\nThey are like two vicious cats whirling. We see Holland\ngasping in agony and hear the sound of BONES BREAKING.", "Holland picks up a fireplace poker. He's swinging like\nmaniac and we hear the sound of the poker SLASHING the\nAIR.", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "He is SHOT in the back by Nolan! His lurching bulk crashes\ninto cab, knocking it off its jack to the ground. The", "happens. The man had no vital signs.\n With all the blood and excitement,\n I almost missed it myself. But we\n have a pulse now. Your man is alive,", "Trent's neck is impaled by one of the decorative iron\narrows of the fireplace. He is stuck -- struggling to\nfree himself from the arrow as his head catches fire ...\na fate somewhat worse than prison.", "Joe Bear, for the first time in his life, is surprised\nwhen Storm smiles too. Joe Bear screams like an animal\nand lunges with his knife.", "in front of his face and uses him as a human battering\nram for him and Andy to escape, plunging the man through\ntwo layers of glass windows of the adjoining Hertz rental", "DUNNE\n (angry, defending\n himself)\n What do we have to do, Holland drive\n a fucking stake through his heart?", "Felicia is now hysterically screaming -- but not for long --\nas she is mortally wounded. We are sure Storm will\ncollapse and this horror will be over, but Storm rushes", "The assassins nod grimly. Trent turns, hands raised\ntriumphantly, to the crowd.", "knife he seizes from a tray of cold cuts on a side table.\nStorm traps the knife, and quickly guides it into Dunne's\nmidsection. With the other hand he raises the sharpened", "Holland FIRES in the direction of the voice, and Storm\ncomes out of the shadows standing in plain view -- his\n.45 pointed at Holland." ], [ "Storm's Mercury moves discreetly, tailing the limo.\n\n STORM\n On the Harbor ... south of Torrance.\n I got Calabrese right in my\n gunsights.", "side by side in the mob scene. We recognize the two Shadow\nMen from the wharf -- the ones who ordered Storm's murder.\nUnder the glare of a mini-cam lamp, a female TV reporter\ntries to get Trent to talk.", "STORM\n Him and his gorilla Vitale. I got\n film and audio on both of them,\n laying out a hit. Two other guys I", "speeds up beside the conspirators. Calabrese gets in,\nthe limo whips off down the wharf to pick up Vitale and\ntake off after Storm.\n\n\nTRENT AND HOLLAND", "STORM\n The two guys at the pier. They\n ordered the hit on me too.\n (beat)\n And I've got 'em on film. Still in\n the camera, right where I left it.", "It's late; just a courtesy lamp left on for Storm. He\npulls the tapes and recorder from his case, stashes the\ncase out of sight. He grabs a couple of champagne glasses --", "A crummy mini-mall around Torrance. Storm exits the phone\nbooth -- crosses toward a liquor store, which is still\nopen this late at night.\n\n\nINT. LIQUOR STORE - NIGHT", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "right now.\n (listens)\n Tell him it's Storm. Mason Storm.", "ducks quickly back out of sight. As he does this, his\nearphone cord catches on something. yanking the phone\noff Storm's head. He cannot hear what the conspirators\nsay next -- but the audience can.", "Finally: the film that Storm shot that night seven years\nago on the wharf. Spliced with the audiotape -- with\nsubtitles including each speaker's name to make every\nword and identity clear. We see:", "Little Man rifles Storm's pockets, including the Versace\njacket beside the bed.\n\n LITTLE MAN\n (patting Storm's\n pants pockets)\n You got the tapes?", "steps around one container (out of view of the other men)\nto the exact spot where Storm was. But Storm isn't there.\nMikey is about to check farther, when out of nowhere:", "moves into Storm's peripheral vision. Coat over his arm,\nconcealing a short-barreled automatic weapon.\n\n SECURITY-TYPE\n Someone wants to talk to you, Storm.", "STORM\n (into phone)\n Esposito?\n (furious)\n Listen, you sonofabitch --\n\n\nEXT. ARMSTEAD HOUSE (OJAI) - EVENING", "Storm's hands dump his stuff onto the bedside table --\ncamera, tapes from case, gun. He gathers the glasses,\npours champagne.", "STORM\n I know that voice.\n\nWho the hell is it? He rewinds the tape --\n\n\nEXT. STREET - STORM'S HOUSE - NIGHT", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room.", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "Storm's Camaro pulls and parks. Storm and Andy, very\nwary, step out.\n\n\nINT. CENTURY PLAZA - LOBBY - NIGHT" ], [ "O'Malley slip the tape from his pocket, placing it under\nSonny's Jacket on the bench without missing a beat, as he\ncalmly starts to rise.", "Calabrese becomes aware of Mikey checking out the noise;\nhe motions the conspirators to shut up, then signals Mikey\nto proceed. Mikey cocks his pistol, moves swiftly toward\nthe line of containers.", "They do. Big Man collects tapes and camera from the\nbedside table, replacing them with large lumps of cocaine\nand cash. Then lie coolly places something on the night", "He leans back into the car, yanks the surveillance tape\nfrom the deck. Hands full, he tucks the tape into a inside\npocket of his Versace vest.", "It's late; just a courtesy lamp left on for Storm. He\npulls the tapes and recorder from his case, stashes the\ncase out of sight. He grabs a couple of champagne glasses --", "cool him out after the liquor store action. Then he ejects\nthe tape decisively -- reaches into his camera case, pulls\nout the surveillance tape from tonight. He punches this", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "Jones takes the message slip. Ford and one of the\nplainclothesmen join him -- the three move aside, confer\nbriefly. Ford and the cop move off. Jones crosses back\nto the Desk Clerk, hands the message slip back to him.", "Sonny snatches up the tape and leaps over the bench, racing\ntoward the rear doorway heading for the street.", "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "The car with the two surveillance men we saw before, waits,\nhidden in shadow. The men watch --\n\n\nO'MALLEY'S CAR\n\nwith Sonny aboard, pulls out.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "street to a sedan parked in shadows. Up goes the trunk:\nin go shotguns, plastic bag with tapes -- and their masks,\nwhich they have just torn off.", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "INT. KITCHEN - DAY\n\nStorm casually lingers behind, drifting into the kitchen.\nHe crosses immediately to the alcove where, seven years\nearlier, he stashed the camera case.", "Trent picks an AK-47 off the table and stuffs it\ntheatrically into a huge TRASH CAN. News cameras record\nthis juicy nugget for the nightly news.", "ducks quickly back out of sight. As he does this, his\nearphone cord catches on something. yanking the phone\noff Storm's head. He cannot hear what the conspirators\nsay next -- but the audience can.", "Little Man rifles Storm's pockets, including the Versace\njacket beside the bed.\n\n LITTLE MAN\n (patting Storm's\n pants pockets)\n You got the tapes?", "STORM\n Him and his gorilla Vitale. I got\n film and audio on both of them,\n laying out a hit. Two other guys I", "Sonny has picked up his jacket. The tape has fallen onto\nthe marble floor!\n\n O'MALLEY\n Sonny -- run!" ], [ "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "Jones and Ford pull masks over their faces and sprint for\nthe other doors. Both carry assault rifles. An enormous\npowerful third man (Joe Bear), his mask already in place,", "The killers take off.\n\n Converted to PDF by www.screentalk.org 51.\n\n\n\nINT. ARMSTEAD HOUSE - NIGHT", "Seeing the gunmen, Sonny in horror crawls under a car.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "Mason's pretty wife, FELICIA, appears in the doorway.", "Martha's crumpled form. Ford and Dunne hurry swiftly\ndown -- pick up her body, drag it a few feet to a", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "Sonny plunges out just as both men OPEN FIRE. They pound\nROUND after ROUND into and through the window, blowing\nGLASS everywhere and ripping the windowframe and half the", "O'MALLEY\n He made it to my house, the night\n you got shot. I hid him, played it", "Nolan, gun in hand, watches incredulously. O'Malley\nstaggers another step. Sonny has crawled out from under\nthe car; he sees this. O'Malley staggers another step.", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "Out of nowhere appears at the door opposite the one Holland\njust left by. He is dripping from the rain and has a .45\npointed at them with one hand, while with the other he", "PHHT! Russ takes the SILENCED SHOT right between the\neyes. His body collapses in a heap there in the entry.\n\n\nINT. THIRD-FLOOR CORRIDOR", "There is an eruption of GUNFIRE and blinding muzzle blast\nand smoke. In the dim light for a moment we do not know\nwhat has happened, then:\n\n\nSTORM'S POV", "The car with the two surveillance men we saw before, waits,\nhidden in shadow. The men watch --\n\n\nO'MALLEY'S CAR\n\nwith Sonny aboard, pulls out.", "We see the three men confer urgently. O'Malley reacts\nwith extreme alarm. He hurries, with the two others,\ninto the building --", "Pounding down the steps three at a time. Gun in hand.\n\n\nINT. LOBBY" ], [ "The nurses laugh. But Andy's glance toward Storm's bed\nis full of deep care and hope.\n\n\nINT. COMA WARD - CLOSE ON STORM - LATER", "INT. NURSES' STATION - ANDY\n\nAlone, doing paperwork, concentrating totally on her work.\n\n\nINT. COMA WARD - STORM", "You can always reach me through my\n mother.\n (pauses, shifting\n to forward)\n What about that nurse? She still in", "ANGLE - NURSES' STATION\n\nMARTHA COE, an attractive black nurse about Andy's age,\nfinishes her shift report. She barely pays attention as\nAndy comes up, starts unloading her stuff.", "Converted to PDF by www.screentalk.org 31.\n\n\n\nINT. NURSES' STATION - ANDY", "She backs off in horror.\n\nAndy rushes to the ward station, lunges for the phone --\nfinds it's been cut. Her view into the coma room suddenly\nbrings the realization that Storm's bed is still gone.", "The nurse is Martha -- Andy's friend from the hospital.\nShe holds a cat in her arms.", "ESPOSITO (V.O.)\n (on TV)\n -- This reporter was contacted\n personally by the now-infamous 'Coma", "She picks up the phone. Dunne's enormous hand engulfs\nher wrist, forces her to put the phone back in the cradle.\nThe two cops stare at her penetratingly.", "Andy is left alone on the coma ward.\n\n\nINT. NURSES' STATION - NIGHT", "A BUZZER sounds on a bank of monitoring equipment. Andy\nglances up; a light flashes on one screen. She studies\nthe screen a moment, gives a perplexed look toward the\nward --\n\n\nINT. COMA WARD", "O'MALLEY\n Your nurse friend? Yeah. She left\n your number, I traced you to here.\n\nStorm gazes with great tenderness at the snapshots of\nSonny.", "Andy unlocks a drawer, pulls out a laminated card from\nthe record notice section. She picks up a phone, punches\nin a long series of numbers.\n\n\nINTERCUT:", "E) INT. COMA WARD - NIGHT\n\nStorm in a different bed, different side of the ward.\nDifferent nurse. Monitors depict EEG, etc. MUSIC DOWN,\nsequence ends --", "as another car carrying three men (including Jones, the\ncop we remember who answered Andy's phone call from the\ncoma ward) pulls up alongside. Ford points ahead, toward", "ANDY\n (electrified)\n He did?\n\nIn a coma ward, this is headline news.", "JONES\n What is the change?\n\n ANDY\n (with enthusiasm)\n The patient has regained\n consciousness.", "Andy on the wall phone, Storm listening on an extension.\nWe hear the PHONE RINGING on the other end, then someone\npicking it up.", "Storm peers around. He is alone in a pretty room, with\nWestern and Oriental furnishings. He's safe; someone has\napparently put him to bed, seen that he's comfortable.\nHe remembers: the nurse ... Andy.", "SUPER: \"SEVEN YEARS LATER\"\n\n\nINT. (UCI) MEDICAL FACILITY - COMA WARD - NIGHT" ], [ "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "the first one that's come out of a\n coma of this duration. You'll\n probably be on the news!\n (beat)", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "ANDY\n (electrified)\n He did?\n\nIn a coma ward, this is headline news.", "ANDY\n This is U.C.I. Medical Center.\n You've been in a coma. Your charts\n go back for seven years.", "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "O'MALLEY\n He made it to my house, the night\n you got shot. I hid him, played it", "SUPER: \"SEVEN YEARS LATER\"\n\n\nINT. (UCI) MEDICAL FACILITY - COMA WARD - NIGHT", "He starts toward the kitchen. Andy looks very worried\nbut doesn't try to stop him. First step -- okay. Second --\nokay. Third -- blam! The cane slips and he falls flat on\nhis face. Too weak to break the fall.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "happens. The man had no vital signs.\n With all the blood and excitement,\n I almost missed it myself. But we\n have a pulse now. Your man is alive,", "PHHT! Russ takes the SILENCED SHOT right between the\neyes. His body collapses in a heap there in the entry.\n\n\nINT. THIRD-FLOOR CORRIDOR", "as another car carrying three men (including Jones, the\ncop we remember who answered Andy's phone call from the\ncoma ward) pulls up alongside. Ford points ahead, toward", "Nolan, gun in hand, watches incredulously. O'Malley\nstaggers another step. Sonny has crawled out from under\nthe car; he sees this. O'Malley staggers another step.", "His eyes open. He grimaces with pain, as if even the dim\nillumination of the ward blinds him. His eyes keep\nblinking and squeezing, his tongue working for saliva --", "Sonny plunges out just as both men OPEN FIRE. They pound\nROUND after ROUND into and through the window, blowing\nGLASS everywhere and ripping the windowframe and half the", "The boy gets a funny look on his face.\n\n NEIGHBOR\n You haven't seen the news?\n (beat)\n She's dead. They shot her in the\n back... over in Westwood.", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room." ], [ "It's driving him crazy that he can't make out the Shadow\nMen's faces. He peers around the wharf, looking for some\nbetter vantage point.", "EXT. COMMERCIAL PIER - NIGHT", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "The two Shadow Men step from the station wagon. The\n\"pushed\" film clearly reveals them to be Trent and Holland.\nWe see them conspire with Calabrese and Vitale.", "TRENT (SHADOW MAN WITH HAT)\n (to Calabrese,\n with menace)\n You told us this dock was clean --", "side by side in the mob scene. We recognize the two Shadow\nMen from the wharf -- the ones who ordered Storm's murder.\nUnder the glare of a mini-cam lamp, a female TV reporter\ntries to get Trent to talk.", "STORM\n The two guys at the pier. They\n ordered the hit on me too.\n (beat)\n And I've got 'em on film. Still in\n the camera, right where I left it.", "ON STORM\n\nMoving carefully onto the wharf, keeping to shadow, using\ncover.\n\n\nEXT. WHARF - NIGHT", "Despite the shadows, it's plain the Man With The Hat is\nin his prime, full of vigor and impatience. Calabrese,\nby contrast, is clearly older, more circumspect.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "O'Malley watches Trent pass, weeping, escorted out by\npolice and aides.\n\nAcross the crowd O'Malley spots Captain Holland, who\napparently is the man he's searching for.", "The two Shadow Men are obscured by the shack and the\nposition of Calabrese and Vitale.\n\n\nSTORM", "As his face moves into the light. Merciless, implacable.", "He reaches to Ford in the fountain, rips the mask off his\nface.\n\nHe recognizes the man.\n\n STORM\n I know this fuck. He's a cop!", "The man gestures with his coat arm. Storm's eyes follow\nto:\n\n\nSTORM'S POV - PARK BENCH - TRENT", "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "Holland FIRES in the direction of the voice, and Storm\ncomes out of the shadows standing in plain view -- his\n.45 pointed at Holland.", "The limousine slowly moves up beside a stand-alone shack\nnear the edge of the wharf. The shack is an open shelter", "Storm glances to the coat-over-the-arm-man, who has taken\nup a subtle position about twenty feet away.\n\nAfter a beat ... Storm sits.", "Calabrese becomes aware of Mikey checking out the noise;\nhe motions the conspirators to shut up, then signals Mikey\nto proceed. Mikey cocks his pistol, moves swiftly toward\nthe line of containers." ], [ "O'Malley slip the tape from his pocket, placing it under\nSonny's Jacket on the bench without missing a beat, as he\ncalmly starts to rise.", "Sonny snatches up the tape and leaps over the bench, racing\ntoward the rear doorway heading for the street.", "It's late; just a courtesy lamp left on for Storm. He\npulls the tapes and recorder from his case, stashes the\ncase out of sight. He grabs a couple of champagne glasses --", "INT. KITCHEN - DAY\n\nStorm casually lingers behind, drifting into the kitchen.\nHe crosses immediately to the alcove where, seven years\nearlier, he stashed the camera case.", "cool him out after the liquor store action. Then he ejects\nthe tape decisively -- reaches into his camera case, pulls\nout the surveillance tape from tonight. He punches this", "But he has a plan. His plan is to try to make it out of\nthe house in one piece. What was once careful stalking\nhas turned into panicked blundering.", "Storm then begins the search for Trent. He casually\nstrolls through the house calling as if he's playing hide\nand seek with a childhood friend.", "He leans back into the car, yanks the surveillance tape\nfrom the deck. Hands full, he tucks the tape into a inside\npocket of his Versace vest.", "They do. Big Man collects tapes and camera from the\nbedside table, replacing them with large lumps of cocaine\nand cash. Then lie coolly places something on the night", "Little Man rifles Storm's pockets, including the Versace\njacket beside the bed.\n\n LITTLE MAN\n (patting Storm's\n pants pockets)\n You got the tapes?", "Finally: the film that Storm shot that night seven years\nago on the wharf. Spliced with the audiotape -- with\nsubtitles including each speaker's name to make every\nword and identity clear. We see:", "His look shows he came up with nothing.\n\n STORM\n Where is the tape?\n\n O'MALLEY\n I turned it in for evidence.", "Storm stares at the photo in agony for a moment, then\nrips the desk drawer open, rummages fiercely. He finds:\nkeys!\n\n\nINT. ARMSTEAD GARAGE - NIGHT", "street to a sedan parked in shadows. Up goes the trunk:\nin go shotguns, plastic bag with tapes -- and their masks,\nwhich they have just torn off.", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "Storm is reacting to the sight of his old home -- the\nfirst time he's seen it since the slaughter seven years\nago. He struggles with his pain and rage.", "Andy's car drives north, back to the Armstead house.\n\nFord in his car keeps a discreet distance back.\n\n\nANGLE - FORD'S CAR", "Sonny has picked up his jacket. The tape has fallen onto\nthe marble floor!\n\n O'MALLEY\n Sonny -- run!", "swiftly sliding through the shadows, he moves around the\nperimeter, pausing to examine things, searching for\nsomething. He finds an old storm gate to what would\nprobably be a cellar or basement.", "Still listening. Can't place the voice. Punches \" eject,\"\nthe tape pops half-out. Into the driveway, Storm activates\nthe garage door remote.\n\n\nINT. GARAGE - NIGHT" ], [ "BACK TO SCENE\n\nStorm releases Trent. The Senator straightens his tie\nand jacket.", "TURNER\n Looks a lot like Mason Storm.\n\nO'Malley and the men come to face-off point, staring at\neach other.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "We hear TWO LOUD ROUNDS and the masked man's head snaps\nviolently back and he falls into a pile.\n\n\nEXT. ARMSTEAD HOUSE - DAY", "Jones and Ford pull masks over their faces and sprint for\nthe other doors. Both carry assault rifles. An enormous\npowerful third man (Joe Bear), his mask already in place,", "The Senator himself. Big, as life and cool as a cucumber.\nAlone and unrecognized on a bench, shelling and munching\nfrom a bag of peanuts. Behind him: a caged vulture.", "O'Malley gets up, starts to move toward the men.\n\n Converted to PDF by www.screentalk.org 90.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "as another car carrying three men (including Jones, the\ncop we remember who answered Andy's phone call from the\ncoma ward) pulls up alongside. Ford points ahead, toward", "INT. CENTURY PLAZA - LOBBY - NIGHT\n\nThe men fan out nonchalantly. Jones approaches the --\n\n\nMESSAGE DESK", "We see the three men confer urgently. O'Malley reacts\nwith extreme alarm. He hurries, with the two others,\ninto the building --", "The two Shadow Men step from the station wagon. The\n\"pushed\" film clearly reveals them to be Trent and Holland.\nWe see them conspire with Calabrese and Vitale.", "He reaches to Ford in the fountain, rips the mask off his\nface.\n\nHe recognizes the man.\n\n STORM\n I know this fuck. He's a cop!", "Sonny plunges out just as both men OPEN FIRE. They pound\nROUND after ROUND into and through the window, blowing\nGLASS everywhere and ripping the windowframe and half the", "Two unmarked sedans whip in and stop ... doors open...\nout come Ford, Jones and two plainclothesmen. They give\ncurt instructions to the valets and hurry inside --", "O'Malley watches Trent pass, weeping, escorted out by\npolice and aides.\n\nAcross the crowd O'Malley spots Captain Holland, who\napparently is the man he's searching for.", "The killers take off.\n\n Converted to PDF by www.screentalk.org 51.\n\n\n\nINT. ARMSTEAD HOUSE - NIGHT", "Out of nowhere appears at the door opposite the one Holland\njust left by. He is dripping from the rain and has a .45\npointed at them with one hand, while with the other he", "Calabrese becomes aware of Mikey checking out the noise;\nhe motions the conspirators to shut up, then signals Mikey\nto proceed. Mikey cocks his pistol, moves swiftly toward\nthe line of containers." ], [ "out like he was dead -- even staged\n a funeral, along with Felicia's and\n yours. They bought it. Everyone\n believed he was dead.", "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "However their moment is incomplete, as Sonny is visibly\ndistraught about the stricken O'Malley, beginning to sob\nat the loss of his surrogate father. Storm turns and\nstarts to move toward --", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "STORM\n You found him. The old lady was his\n mother.\n (beat)\n And Andy ... my son's alive.", "Then he reaches across to his son, pulls the boy to him\nwith a playful headlock.\n\nFor a moment both Andy and Sonny are held in suspension,\nwondering what Storm will do or say.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "SONNY\n\nstops. Gasping, breathless -- seeing the father he hasn't\nseen in seven years.\n\n\nSTORM", "SONNY\n (calls back to\n house)\n Daddy! I don't want you to go!\n\n\nMASON STORM", "of Sonny -- now aged 12 -- in a school environment,\nathletic fields, etc. O'Malley is with Sonny in some of\nthe shots, beaming, arm around the boy.", "Storm peers around. He is alone in a pretty room, with\nWestern and Oriental furnishings. He's safe; someone has\napparently put him to bed, seen that he's comfortable.\nHe remembers: the nurse ... Andy.", "Just then, O'Malley becomes aware of a bad vibe in the\nair. A foreign presence. Nolan, and Turner have followed\nhim and Sonny from Mrs. O'Malley's house. Now they\napproach --", "He comes into the room, sits on the edge of Sonny's bed --\ntousling his son's hair with great affection. Sonny takes\nthe stuffed toy sleepily, pulls it into bed beside him.", "Sonny may not get the joke, but he laughs delightedly --\njust because it's his dad telling it. Storm kisses him\nand sets him down.", "Storm stops outside his boy's room, looking in. Felicia\ntiptoes up beside him. Sonny sprawls loose-limbed on the\nbed in his Woody Woodpecker pajamas.", "O'Malley comes out too, more cautiously than his mother.\nHe is armed. He also hurries to Sonny, hugs him tight.\n\n SONNY\n Malley!", "Trent seizes the poker and does his most mighty Babe Ruth\nimpression. Just as Storm stands up, the poker comes\nflying. It looks like Storm is dead but somehow he steps", "Finally:\n\n STORM\n (to Sonny)\n Knock, knock.\n\nFor a beat, the boy is taken aback. Then he break's into\na broad smile.", "The emotion of the parting with Mason catches up with\nher.\n\n ANDY\n Get a hold of yourself, Andy.", "Mrs. O'Malley emerges from the nursing home wheelchair.\nSonny rushes to her ... they embrace joyfully." ], [ "Our SHOT starts to WIDEN, revealing that the TV monitor\nis in a news studio. The nightly news is being broadcast:\nwhat we see on this monitor is simultaneously going out\nover the air.", "Finally: the film that Storm shot that night seven years\nago on the wharf. Spliced with the audiotape -- with\nsubtitles including each speaker's name to make every\nword and identity clear. We see:", "As the SHOT WIDENS and TRAVERSES, we begin to see the\nactual news set -- including Esposito who got his well-\ndeserved scoop -- and other anchorpeople, crewmen, etc.", "IN ANDY'S LAP - PORTABLE TV\n\nShe switches a channel: up comes the same footage we just\nsaw on the news set.\n\n\nANDY", "After a beat, he manages to focus on the TV --\n\nTV SCREEN - \"GERALDO SHOW\" (FILE TAPE)", "The boy gets a funny look on his face.\n\n NEIGHBOR\n You haven't seen the news?\n (beat)\n She's dead. They shot her in the\n back... over in Westwood.", "PAST the news set and its occupants (who are readying to\ngo back on-camera as soon as the wharf tape ends) and on\nUP TOWARD --", "me the audiotape. We'll put 'em\n together and get 'em to Esposito\n for the T.V. news. That should be\n quite a show.", "Trent picks an AK-47 off the table and stuffs it\ntheatrically into a huge TRASH CAN. News cameras record\nthis juicy nugget for the nightly news.", "Andy reacts in shock and horror.\n\n NEIGHBOR\n (staring at her)\n You look like the woman's picture\n on T.V... the one whose house they\n shot her at --", "cool him out after the liquor store action. Then he ejects\nthe tape decisively -- reaches into his camera case, pulls\nout the surveillance tape from tonight. He punches this", "The two Shadow Men step from the station wagon. The\n\"pushed\" film clearly reveals them to be Trent and Holland.\nWe see them conspire with Calabrese and Vitale.", "He leans back into the car, yanks the surveillance tape\nfrom the deck. Hands full, he tucks the tape into a inside\npocket of his Versace vest.", "His look shows he came up with nothing.\n\n STORM\n Where is the tape?\n\n O'MALLEY\n I turned it in for evidence.", "LIGHTS ABOVE NEWS SET\n\nwhich now FILL the FRAME -- bright and blinding. The\nscreen starts to bleach out ... it goes white and", "His hand moves! A beat ... then another. Something's\nhappening. Another beat, and then we see him draw several\nsharp intake breaths, then a very deep breath. Suddenly\nhe shudders intensely --", "O'Malley's eyes flash from Storm (over whom the medics\nare now working) to the corridor outside, at the end of\nwhich he can see several straggling cops and news people.\nHis mind is racing --", "CAMERA PANS OVER TO a corner mirror and we see Andy peeking\nthrough a crack in the door. She is enjoying this\nimmensely. She seems to be fighting her feelings, and", "Mini-TV on countertop. On TV: a photo of Storm. Jack\nEsposito reporting --", "A TV is on at the foot of the bed. Storm squints at the\ndigital clock beside him: 4:17 PM. Storm closes his eyes." ], [ "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "O'MALLEY\n (eyeball to\n eyeball)\n Mason Storm is going to vanish,", "right now.\n (listens)\n Tell him it's Storm. Mason Storm.", "moves into Storm's peripheral vision. Coat over his arm,\nconcealing a short-barreled automatic weapon.\n\n SECURITY-TYPE\n Someone wants to talk to you, Storm.", "Storm has just finished a major aerobic workout and is\nnow doing some strange martial aerobic-type movements.\nHe is sweating profusely and is dressed in a tiny black\ntank top and black sweat pants.", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "TURNER\n Looks a lot like Mason Storm.\n\nO'Malley and the men come to face-off point, staring at\neach other.", "Ford appears -- right in his face, assault rifle leveled\nat Storm's guts. Storm strikes an instantaneous blow,\nsending the rifle flying. In one motion, he pinwheels", "Storm takes a loaded clip from his friend, slams it into\nthe butt of the .45. He jacks the slide back and lets it\nslam home -- chambering a round.", "Holland FIRES in the direction of the voice, and Storm\ncomes out of the shadows standing in plain view -- his\n.45 pointed at Holland.", "Storm performs a series of Eastern exercises: stick,\nAikido, and meditation. He's obviously pushing himself\nbeyond exhaustion; Andy watches, growing more and more\nconcerned.", "Storm strides in, punches the garage door button; the\ndoor starts to open. He grabs the corner of a dusty canvas\ncover -- jerks it off an Army-style Jeep.", "under him so that he topples face-forward into Storm's\narms, out cold. Storm soundlessly lowers the lookout to\nthe ground.", "Storm enters. A grimy, high-crime booze store. Not\nexactly the place to find Mumm's '36.", "STORM\n How ya doing?\n (looking around)\n Got any champagne?\n\nThe grizzled MAN behind the counter checks out Storm's\nVersace threads.", "Storm's Mercury moves discreetly, tailing the limo.\n\n STORM\n On the Harbor ... south of Torrance.\n I got Calabrese right in my\n gunsights.", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "A crummy mini-mall around Torrance. Storm exits the phone\nbooth -- crosses toward a liquor store, which is still\nopen this late at night.\n\n\nINT. LIQUOR STORE - NIGHT" ], [ "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "A crummy mini-mall around Torrance. Storm exits the phone\nbooth -- crosses toward a liquor store, which is still\nopen this late at night.\n\n\nINT. LIQUOR STORE - NIGHT", "right now.\n (listens)\n Tell him it's Storm. Mason Storm.", "Storm's Mercury moves discreetly, tailing the limo.\n\n STORM\n On the Harbor ... south of Torrance.\n I got Calabrese right in my\n gunsights.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "Storm strides in, punches the garage door button; the\ndoor starts to open. He grabs the corner of a dusty canvas\ncover -- jerks it off an Army-style Jeep.", "Storm stops outside his boy's room, looking in. Felicia\ntiptoes up beside him. Sonny sprawls loose-limbed on the\nbed in his Woody Woodpecker pajamas.", "He speeds off. Storm stands, thinking --\n\n\nINT. ARMSTEAD BEDROOM - DAY\n\nStorm enters, still deep in thought. Racking his brain --", "Storm sprawled, asleep, exhausted, in the passenger seat.\nAndy windblown at the wheel. A pair of fugitives, on the\nrun. The car pulls off the highway, past a sign for\n\"OJAI.\"", "moves into Storm's peripheral vision. Coat over his arm,\nconcealing a short-barreled automatic weapon.\n\n SECURITY-TYPE\n Someone wants to talk to you, Storm.", "Storm enters. A grimy, high-crime booze store. Not\nexactly the place to find Mumm's '36.", "Storm is reacting to the sight of his old home -- the\nfirst time he's seen it since the slaughter seven years\nago. He struggles with his pain and rage.", "Storm takes a loaded clip from his friend, slams it into\nthe butt of the .45. He jacks the slide back and lets it\nslam home -- chambering a round.", "Storm has just finished a major aerobic workout and is\nnow doing some strange martial aerobic-type movements.\nHe is sweating profusely and is dressed in a tiny black\ntank top and black sweat pants.", "STORM'S CAR\n\npulls up at a distance, deep in shadow.\n\n\nINT. STORM'S CAR - NIGHT", "O'MALLEY\n (eyeball to\n eyeball)\n Mason Storm is going to vanish,", "Ford bolts for the staircase, coming after Storm. Storm,\ncrouched around the corner on the exterior balcony, waits", "Stacks of huge shipping crates and Sea-Land containers\nfrom a long wall along the cluttered dock. The towering\nhulks of several ships loom close by. Storm finds a slot\nbetween bulk containers: a good surveillance point.", "STORM\n We just made the top of the chart,\n Andy. Every cop in the city thinks\n we shot our way out of a legitimate\n bust --\n\n ANDY\n There are no cops here!" ], [ "Felicia watches her husband. She plainly loves him deeply --\nand is held and excited by his contradictions. They come\ncloser together, clinking their glasses, sipping.", "FELICIA\n (in mid-kiss)\n Door's open.\n\nNot missing a beat, Storm grabs a heavy pillow, heaves it --\nwithout looking -- at the door.", "Felicia is now hysterically screaming -- but not for long --\nas she is mortally wounded. We are sure Storm will\ncollapse and this horror will be over, but Storm rushes", "Mason's pretty wife, FELICIA, appears in the doorway.", "FELICIA\n If people knew how sweet you are,\n they'd never be scared of you.", "Storm and Felicia forms obscure part of the screen --\nstanding close to each other, beside the bed. Felicia\nhelps him off with his jacket.\n\n FELICIA\n There's blood on your jacket.", "FELICIA\n (frightened)\n What?", "FELICIA\n (tight to Storm)\n I want you back early. Tonight's\n the night those little starlets are\n crawling all over town.", "STORM\n Don't worry. I'll beat 'em off\n with a stick.\n\nHe kisses Felicia, ready to leave.", "her teddy top; her beautiful breasts rise into the light.\nStorm begins to kiss them, she moans with pleasure. The\nlovemaking increases in intensity, Felicia's hand groping", "Storm stops outside his boy's room, looking in. Felicia\ntiptoes up beside him. Sonny sprawls loose-limbed on the\nbed in his Woody Woodpecker pajamas.", "STORM\n Wish I could sleep like that.\n\n FELICIA\n Maybe I can help you.\n\nShe tugs Storm sexily toward the bedroom --", "A) Storm emerging from the door of his house, the night\nof the Oscars. Felicia smiling, taking his arm --", "FELICIA\n (from doorway)\n Mahatma Candy. He was a great man.", "The pillow strikes it, starting it swinging closed. Storm\nand Felicia's forms, on the bed, are eclipsed. Sound\nfrom the \"CARSON SHOW\" DROPS DOWN -", "out like he was dead -- even staged\n a funeral, along with Felicia's and\n yours. They bought it. Everyone\n believed he was dead.", "She kisses him seductively, unbuttoning his shirt at the\ncollar. Storm still wears the vest.\n\n FELICIA\n I'm not scared of you.", "Medics wheel Felicia's body past, one bloody forearm\nvisible beneath the sheet.", "STORM\n Maybe you should be.\n\n FELICIA\n (closer,\n increasing\n passion)\n Why? Are you planning on doing\n something to me?", "Their passion highly aroused now. Felicia's legs wrapped\ntight around Storm... their breathing, combined with the\nTV sound, seems like it would obscure the men's silent\nmovement out in the hall. But:" ], [ "Felicia is now hysterically screaming -- but not for long --\nas she is mortally wounded. We are sure Storm will\ncollapse and this horror will be over, but Storm rushes", "FELICIA\n (in mid-kiss)\n Door's open.\n\nNot missing a beat, Storm grabs a heavy pillow, heaves it --\nwithout looking -- at the door.", "STORM\n Wish I could sleep like that.\n\n FELICIA\n Maybe I can help you.\n\nShe tugs Storm sexily toward the bedroom --", "STORM\n Don't worry. I'll beat 'em off\n with a stick.\n\nHe kisses Felicia, ready to leave.", "Storm and Felicia forms obscure part of the screen --\nstanding close to each other, beside the bed. Felicia\nhelps him off with his jacket.\n\n FELICIA\n There's blood on your jacket.", "Down feathers slowly float down toward the terribly sad\nand lifeless bodies of Storm and Felicia. Holes pepper", "She kisses him seductively, unbuttoning his shirt at the\ncollar. Storm still wears the vest.\n\n FELICIA\n I'm not scared of you.", "PHHT! PHHT! Danny sprawls onto the floor, dead.\n\n\nINT. CLOSE ON STORM", "her teddy top; her beautiful breasts rise into the light.\nStorm begins to kiss them, she moans with pleasure. The\nlovemaking increases in intensity, Felicia's hand groping", "Storm stops outside his boy's room, looking in. Felicia\ntiptoes up beside him. Sonny sprawls loose-limbed on the\nbed in his Woody Woodpecker pajamas.", "STORM\n Maybe you should be.\n\n FELICIA\n (closer,\n increasing\n passion)\n Why? Are you planning on doing\n something to me?", "A) Storm emerging from the door of his house, the night\nof the Oscars. Felicia smiling, taking his arm --", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room.", "Another kiss. They get their glasses out of the way,\nStorm lowers his wife languidly onto the bed. They begin\nkissing more deeply. Storm helps Felicia slide out of", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "Dunne falls to his knees and just stares. Storm does a\nflying kick to his chin, breaking his neck. The room now\nfinished, he turns and exits.\n\n\nINDOOR POOL", "Their passion highly aroused now. Felicia's legs wrapped\ntight around Storm... their breathing, combined with the\nTV sound, seems like it would obscure the men's silent\nmovement out in the hall. But:", "C) The masked assassins. SHOTGUN BLASTS detonating point\nblank into Storm and Felicia --\n\n\nINT. COMA WARD - STORM", "FELICIA\n (tight to Storm)\n I want you back early. Tonight's\n the night those little starlets are\n crawling all over town.", "Trent seizes the poker and does his most mighty Babe Ruth\nimpression. Just as Storm stands up, the poker comes\nflying. It looks like Storm is dead but somehow he steps" ], [ "INT. KITCHEN - DAY\n\nStorm casually lingers behind, drifting into the kitchen.\nHe crosses immediately to the alcove where, seven years\nearlier, he stashed the camera case.", "Storm then begins the search for Trent. He casually\nstrolls through the house calling as if he's playing hide\nand seek with a childhood friend.", "Storm stares at the photo in agony for a moment, then\nrips the desk drawer open, rummages fiercely. He finds:\nkeys!\n\n\nINT. ARMSTEAD GARAGE - NIGHT", "Little Man rifles Storm's pockets, including the Versace\njacket beside the bed.\n\n LITTLE MAN\n (patting Storm's\n pants pockets)\n You got the tapes?", "cool him out after the liquor store action. Then he ejects\nthe tape decisively -- reaches into his camera case, pulls\nout the surveillance tape from tonight. He punches this", "Storm is reacting to the sight of his old home -- the\nfirst time he's seen it since the slaughter seven years\nago. He struggles with his pain and rage.", "Storm curiously turns his back on Trent for a moment, to\npick up handcuffs off the floor. Trent sees his last\nchance.", "STORM\n I know that voice.\n\nWho the hell is it? He rewinds the tape --\n\n\nEXT. STREET - STORM'S HOUSE - NIGHT", "It's late; just a courtesy lamp left on for Storm. He\npulls the tapes and recorder from his case, stashes the\ncase out of sight. He grabs a couple of champagne glasses --", "Storm's hands dump his stuff onto the bedside table --\ncamera, tapes from case, gun. He gathers the glasses,\npours champagne.", "His look shows he came up with nothing.\n\n STORM\n Where is the tape?\n\n O'MALLEY\n I turned it in for evidence.", "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "Finally: the film that Storm shot that night seven years\nago on the wharf. Spliced with the audiotape -- with\nsubtitles including each speaker's name to make every\nword and identity clear. We see:", "He speeds off. Storm stands, thinking --\n\n\nINT. ARMSTEAD BEDROOM - DAY\n\nStorm enters, still deep in thought. Racking his brain --", "He leans back into the car, yanks the surveillance tape\nfrom the deck. Hands full, he tucks the tape into a inside\npocket of his Versace vest.", "Storm strides in, punches the garage door button; the\ndoor starts to open. He grabs the corner of a dusty canvas\ncover -- jerks it off an Army-style Jeep.", "steps around one container (out of view of the other men)\nto the exact spot where Storm was. But Storm isn't there.\nMikey is about to check farther, when out of nowhere:", "Storm now takes Trent by the hair and leads him through\nthe house, shotgun still in his mouth.", "Sonny snatches up the tape and leaps over the bench, racing\ntoward the rear doorway heading for the street.", "A crummy mini-mall around Torrance. Storm exits the phone\nbooth -- crosses toward a liquor store, which is still\nopen this late at night.\n\n\nINT. LIQUOR STORE - NIGHT" ], [ "O'Malley watches Trent pass, weeping, escorted out by\npolice and aides.\n\nAcross the crowd O'Malley spots Captain Holland, who\napparently is the man he's searching for.", "Felicia is now hysterically screaming -- but not for long --\nas she is mortally wounded. We are sure Storm will\ncollapse and this horror will be over, but Storm rushes", "hand. It is clear O'Malley is about to die. But still\nhe staggers toward Nolan, raising the tire iron.", "Dunne falls to his knees and just stares. Storm does a\nflying kick to his chin, breaking his neck. The room now\nfinished, he turns and exits.\n\n\nINDOOR POOL", "But he gets too close to Storm, who snatches the poker\naway from him.\n\nThey are like two vicious cats whirling. We see Holland\ngasping in agony and hear the sound of BONES BREAKING.", "There is a LOUD CRACK and scream as he lands on his head\nand neck, and then -- from the side, point-blank --another", "happens. The man had no vital signs.\n With all the blood and excitement,\n I almost missed it myself. But we\n have a pulse now. Your man is alive,", "Trent seizes the poker and does his most mighty Babe Ruth\nimpression. Just as Storm stands up, the poker comes\nflying. It looks like Storm is dead but somehow he steps", "He starts toward the kitchen. Andy looks very worried\nbut doesn't try to stop him. First step -- okay. Second --\nokay. Third -- blam! The cane slips and he falls flat on\nhis face. Too weak to break the fall.", "The others glower as Holland pounds off into the rear of\nthe house. Dunne slings a cue ball the length of the\ntable, breaking the rack with a crack like a pistol shot.", "CONTINUE TRACKING Holland as he bumps into things, knocking\nthem over, retreating wildly. He passes a raging fireplace\nand suddenly out of the shadows comes a voice:", "Out of nowhere appears at the door opposite the one Holland\njust left by. He is dripping from the rain and has a .45\npointed at them with one hand, while with the other he", "CLICK. Andy turns to see Storm standing there, glowering --\nhis hand on the PHONE hang-up bar.\n\nFor half a beat, Andy is frightened: unsure what this man\nwill do. Then Storm starts to collapse.", "Holland is clearly upset by this, but knows he can't argue\nwith a letter from the commissioner. Reluctantly he yields.\nHe turns his gaze back to the stretcher in the ER.", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "She nearly faints at the sight of the pistol leveled\nbetween her eyes. Storm instantly jerks the weapon back.\nThey stand there staring at each other.\n\n ANDY\n Martha's dead.", "Trent is now so fucking scared he looks like he is about\nto go out of his mind. About this time in their journey\nthrough the house, Storm has stopped before Holland's", "Joe Bear, for the first time in his life, is surprised\nwhen Storm smiles too. Joe Bear screams like an animal\nand lunges with his knife.", "He is SHOT in the back by Nolan! His lurching bulk crashes\ninto cab, knocking it off its jack to the ground. The", "She crosses to him -- lowers herself gracefully to kneel\nbeside him, setting down the tray and glasses.\n\n STORM\n (dead)\n Thanks." ], [ "LIVING ROOM\n\nFord and Jones, masked, hurtle into the living room, just\nbelow the atrium balcony. They raise their automatic\nweapons, but before they can fire --", "Storm seems to drift off somewhere far away, and then\nviolently slams Trent up against the wall, pinning his\nchest with the left hand. Storm takes the sawed-off", "BACK TO SCENE\n\nStorm releases Trent. The Senator straightens his tie\nand jacket.", "Trent is now so fucking scared he looks like he is about\nto go out of his mind. About this time in their journey\nthrough the house, Storm has stopped before Holland's", "Like lightning, Storm lunges for Trent... whips behind\nhim, seizing his throat and hauling Trent's body into the\nline of fire -- as a shield protecting Storm!", "Dunne falls to his knees and just stares. Storm does a\nflying kick to his chin, breaking his neck. The room now\nfinished, he turns and exits.\n\n\nINDOOR POOL", "Ford appears -- right in his face, assault rifle leveled\nat Storm's guts. Storm strikes an instantaneous blow,\nsending the rifle flying. In one motion, he pinwheels", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room.", "Storm then begins the search for Trent. He casually\nstrolls through the house calling as if he's playing hide\nand seek with a childhood friend.", "INT. MASTER BEDROOM\n\n STORM\n (loud enough\n for Trent to\n hear)\n Let's see ... where could that bad\n boy be?", "Ford bolts for the staircase, coming after Storm. Storm,\ncrouched around the corner on the exterior balcony, waits", "FELICIA\n (in mid-kiss)\n Door's open.\n\nNot missing a beat, Storm grabs a heavy pillow, heaves it --\nwithout looking -- at the door.", "Storm strides in, punches the garage door button; the\ndoor starts to open. He grabs the corner of a dusty canvas\ncover -- jerks it off an Army-style Jeep.", "Storm's Camaro pulls and parks. Storm and Andy, very\nwary, step out.\n\n\nINT. CENTURY PLAZA - LOBBY - NIGHT", "INT. TRENT MANSION - SPORTING ROOM - NIGHT", "Storm curiously turns his back on Trent for a moment, to\npick up handcuffs off the floor. Trent sees his last\nchance.", "EXT. ARMSTEAD HOUSE - BALCONY AND FOUNTAIN\n\nStorm swings down to the ground. Andy leaps into his\narms, he breaks her fall and helps her alight safely.", "Trent seizes the poker and does his most mighty Babe Ruth\nimpression. Just as Storm stands up, the poker comes\nflying. It looks like Storm is dead but somehow he steps", "TRENT\n I want that film and the tape.\n I'll give you three hours.\n\nStorm stands. Dunne facing him. The snipers behind him.", "With one lightning blow the OAK SPLINTERS and flies in\nhalf. Storm walks away with a frightening calm -- stalks\nstraight inside toward the gym...\n\n\nINT. ARMSTEAD GYM - NIGHT" ], [ "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "under him so that he topples face-forward into Storm's\narms, out cold. Storm soundlessly lowers the lookout to\nthe ground.", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "We see Storm hit badly at close range. He takes it in\nthe right center mass. It looks like his right arm is\ntorn off as his .45 is literally blown across the room.", "He speeds off. Storm stands, thinking --\n\n\nINT. ARMSTEAD BEDROOM - DAY\n\nStorm enters, still deep in thought. Racking his brain --", "A graphic behind him has a photo of Storm, captioned:\n\"COMA COP. \"", "Storm performs a series of Eastern exercises: stick,\nAikido, and meditation. He's obviously pushing himself\nbeyond exhaustion; Andy watches, growing more and more\nconcerned.", "hurry up to their fallen comrade. They see Storm 50 yards\nback up the pier, fleeing. Vitale takes off after him at\na dead run. At that instant:\n\n\nTRENT", "Ford appears -- right in his face, assault rifle leveled\nat Storm's guts. Storm strikes an instantaneous blow,\nsending the rifle flying. In one motion, he pinwheels", "STORM\n I slept for seven years?\n\n Converted to PDF by www.screentalk.org 52.", "right now.\n (listens)\n Tell him it's Storm. Mason Storm.", "Storm peers around. He is alone in a pretty room, with\nWestern and Oriental furnishings. He's safe; someone has\napparently put him to bed, seen that he's comfortable.\nHe remembers: the nurse ... Andy.", "E) INT. COMA WARD - NIGHT\n\nStorm in a different bed, different side of the ward.\nDifferent nurse. Monitors depict EEG, etc. MUSIC DOWN,\nsequence ends --", "Storm sprawled, asleep, exhausted, in the passenger seat.\nAndy windblown at the wheel. A pair of fugitives, on the\nrun. The car pulls off the highway, past a sign for\n\"OJAI.\"", "The team exits. Andy is alone in the ward with the\nimmobile patients -- and Storm. Storm groans and tries\nto lift himself onto an elbow.", "the first one that's come out of a\n coma of this duration. You'll\n probably be on the news!\n (beat)", "Storm tries to run up a dirt hill. He's still too weak --\nstruggles, sweating, straining with fierce determination.\n\n\nD) INT. ARMSTEAD - GYM - NIGHT", "STORM\n (staggered)\n Seven... years?\n\nHe can't absorb this. It's too much. His mind reels.", "Dunne falls to his knees and just stares. Storm does a\nflying kick to his chin, breaking his neck. The room now\nfinished, he turns and exits.\n\n\nINDOOR POOL" ], [ "Mason Storm. He's in trouble and\n needs desperately to contact his\n friend, Captain O'Malley. If you\n have any idea how to contact Captain", "SONNY\n (calls back to\n house)\n Daddy! I don't want you to go!\n\n\nMASON STORM", "He slams another furious punch. Andy gets up, tries to\napproach Storm.\n\n ANDY\n Mason, please\n (wants to ease\n his pain)\n I love you.", "Storm stops outside his boy's room, looking in. Felicia\ntiptoes up beside him. Sonny sprawls loose-limbed on the\nbed in his Woody Woodpecker pajamas.", "Cop'... fugitive officer Mason Storm --\n who until days ago had languished\n in a seven-year coma.", "right now.\n (listens)\n Tell him it's Storm. Mason Storm.", "Storm pulls a bottle from the cooler. He notices, on a\nhigh shelf, a big stuffed toy. Something for Sonny.\nStorm stretches up, grabs it. Suddenly:", "STORM\n You found him. The old lady was his\n mother.\n (beat)\n And Andy ... my son's alive.", "Then he reaches across to his son, pulls the boy to him\nwith a playful headlock.\n\nFor a moment both Andy and Sonny are held in suspension,\nwondering what Storm will do or say.", "Finally:\n\n STORM\n (to Sonny)\n Knock, knock.\n\nFor a beat, the boy is taken aback. Then he break's into\na broad smile.", "O'MALLEY\n (eyeball to\n eyeball)\n Mason Storm is going to vanish,", "A young boy, SONNY STORM, rushes out -- excited but pouty\nand a little peeved. He glowers at a 1981 Mercury, parked\nat the curb -- then turns back toward the house.", "SONNY\n\nstops. Gasping, breathless -- seeing the father he hasn't\nseen in seven years.\n\n\nSTORM", "SONNY\n You promise, Dad?\n\n STORM\n I promise.", "Sonny Storm, quiet and apprehensive, focuses on tearing\nopen the packet of mustard for his hot dog. He sits on\ntop of a battered suitcase.", "Storm laughs and ruffles his son's hair.\n\n Converted to PDF by www.screentalk.org 2.", "Storm jumps up -- turns Sonny over to Andy, hurrying them\ninto a nearby cab. The cab takes off.\n\n\nINT. CAB - MOVING", "Storm lifts Sonny up into his arms. He gives the boy\n100% of his attention, speaks just for him.\n\n STORM\n Knock knock.", "SONNY\n Who's there?\n\n STORM\n Old lady.\n\n SONNY\n Old lady who?", "STORM\n Boo.\n\n SONNY\n Boo who?" ], [ "O'Malley emerges with Sonny, carrying a travel bag. The\nboy and O'Malley quickly hug Mrs. O'Malley, then stride\nswiftly out toward O'Malley's car.", "Sonny screams and flees in fear for his life. Nolan races\nafter him. Between the maze of parked cars. Sonny,\ndodging, in between the endless rows.", "of Sonny -- now aged 12 -- in a school environment,\nathletic fields, etc. O'Malley is with Sonny in some of\nthe shots, beaming, arm around the boy.", "Sonny may not get the joke, but he laughs delightedly --\njust because it's his dad telling it. Storm kisses him\nand sets him down.", "Nolan and Turner try to trap him, peering under the cars --\nbut Sonny is too agile and cat-like. Turner crouches down,\nspots Sonny.", "Mrs. O'Malley emerges from the nursing home wheelchair.\nSonny rushes to her ... they embrace joyfully.", "Sonny has made his way into the parking area, amidst dozens\nof cars, but he has stopped -- looking back fearfully,\nworried about O'Malley. O'Malley bursts from the exit.", "However their moment is incomplete, as Sonny is visibly\ndistraught about the stricken O'Malley, beginning to sob\nat the loss of his surrogate father. Storm turns and\nstarts to move toward --", "Storm jumps up -- turns Sonny over to Andy, hurrying them\ninto a nearby cab. The cab takes off.\n\n\nINT. CAB - MOVING", "SONNY\n You promise, Dad?\n\n STORM\n I promise.", "Then he reaches across to his son, pulls the boy to him\nwith a playful headlock.\n\nFor a moment both Andy and Sonny are held in suspension,\nwondering what Storm will do or say.", "Sonny scoots to the windows, which are cracked open awning\nstyle. He peers out and down.\n\n\nSONNY'S POV", "SONNY\n\nstops. Gasping, breathless -- seeing the father he hasn't\nseen in seven years.\n\n\nSTORM", "turns with Sonny to see Storm, through the back window of\nthe cab, looking after them protective -- full of emotion.\n\n SONNY\n (to Andy)\n Where are we going? Who are you?", "O'Malley comes out too, more cautiously than his mother.\nHe is armed. He also hurries to Sonny, hugs him tight.\n\n SONNY\n Malley!", "He comes into the room, sits on the edge of Sonny's bed --\ntousling his son's hair with great affection. Sonny takes\nthe stuffed toy sleepily, pulls it into bed beside him.", "Storm lifts Sonny up into his arms. He gives the boy\n100% of his attention, speaks just for him.\n\n STORM\n Knock knock.", "Still hugging Sonny, O'Malley shoves a bill at the cabbie.\nWhatever it is, the cabbie is thrilled. He boogies off\necstatically.", "SONNY\n E.T. lost.\n\nStorm knows E.T. is not just a movie character to Sonny;\nhe's a real person.", "Sonny Storm, quiet and apprehensive, focuses on tearing\nopen the packet of mustard for his hot dog. He sits on\ntop of a battered suitcase." ] ]

[ "Who is Mason's wife? ", "What happens to Mason's wife when the corrupt policemen break in? ", "What does Mason's son do during the attack? ", "How long before Mason awakes from his coma? ", "Who helps Mason escape from the hospital? ", "Whered did O'malley send Mason's son? ", "Whose voice does Mason recognize from the pier by watching a commercial? ", "Who kills O'Malley? ", "What is used to kill Hulland? ", "At what lcation does Mason Storm record the mob meeting?", "Where does Mason hide the recording of the mob meeting?", "Who is hiding from danger as Mason and his wife are shot?", "Which nurse makes the phone call to report that Mason has woken up from his coma?", "How long does Mason remain comatose after being shot in his home?", "Who is the shadowy figure at the pier revealed to be?", "How does Mason recover the hidden tape from his old house?", "Where does Mason confront the Senator and his men?", "Who adopted Mason's son after Mason was believed to be dead?", "What des the videotape show when it is played on the news?", "What is Mason Storm's profession?", "In what city does Mason Storm live?", "Who is Felicia?", "How does Felicia Storm die?", "How does Mason Storm recover the videotape from his old house?", "How does Capt. Hulland die?", "In what room of Senator Trent's mansion do Mason Storm and Jack Axel fight?", "How long is Mason Storm in a coma?", "What is the name of Mason Storm's son?", "Who adopts Sonny?" ]

[ [ "Felicia", "Felicia" ], [ "She is murdered", "They murder her." ], [ "He hides", "Hides" ], [ "Seven years", "Seven yearsf" ], [ "Andy", "Andy" ], [ "To a private school", "A private school" ], [ "Senator Vernon Trent", "Senator Vernon Trent " ], [ "Max", "Max" ], [ "His own neck tie ", "He is strangled by his necktie." ], [ "The pier.", "By a pier." ], [ "In his house.", "In his house." ], [ "Sonny.", "son Andy" ], [ "Andy.", "Andy" ], [ "Seven years.", "Seven years" ], [ "Senator Vernon Trent.", "Senator Vernon Trent" ], [ "He poses as a real estate agent.", "He posed as a real estate agent." ], [ "At the Senator's mansion.", "At his mansion . " ], [ "O'Malley.", "Lt. O'Malley" ], [ "Senator Trent coming out of the shadows.", "It shows Trent coming out of the shadows. " ], [ "He is a police detective.", "detective" ], [ "Los Angeles.", "Los Angeles " ], [ "Mason Storm's wife.", "Mason's wife." ], [ "She is murdered by a hit squad. ", "A police squad of corrupt policemen murdered her." ], [ "The poses as a real estate agent.", "He poses as a real estate agent." ], [ "Mason Storm stranges Capt. Hulland with his necktie.", "Strangled" ], [ "The billiard room.", "Billard room " ], [ "Seven years.", "Seven years" ], [ "Sonny.", "Sonny." ], [ "Lt. O'Malley.", "Lt. O'Malley" ] ]

[ [ "\"Yes, I have noticed that. But if this were the practical joke of some\nstudents from the dissecting-rooms, it would be as easy for them to\nsend two odd ears as a pair.\"", "\"As a medical man, you are aware, Watson, that there is no part of the\nbody which varies so much as the human ear. Each ear is as a rule", "upon the subject. I had, therefore, examined the ears in the box with\nthe eyes of an expert and had carefully noted their anatomical\npeculiarities. Imagine my surprise, then, when on looking at Miss", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "before going further. An unsuccessful lover might have killed Mr. and\nMrs. Browner, and the male ear might have belonged to the husband.\nThere were many grave objections to this theory, but it was", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "correspondents that it is a rare event for her to receive anything\nthrough the post. Some years ago, however, when she resided at Penge,\nshe let apartments in her house to three young medical students, whom", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "\"The presumption is strongly against it. Bodies in the\ndissecting-rooms are injected with preservative fluid. These ears bear", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "again I'll send you one of his ears for a keepsake.\" She was\nfrightened by my face, I think, for she never answered a word, and the\nsame evening she left my house.", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "doubt it. If she knew, why should she call the police in? She might\nhave buried the ears, and no one would have been the wiser. That is", "and that a double murder has been committed. One of these ears is a\nwoman's, small, finely formed, and pierced for an earring. The other", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "tobacco and does not help us in any way. The medical student theory\nstill appears to me to be the most feasible, but if you should have a", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:" ], [ "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"The string was of the quality which is used by sail-makers aboard\nship, and at once a whiff of the sea was perceptible in our", "we thought there might be something incriminating; but, bar a big sharp\nknife such as most sailors have, we got nothing for our trouble.\nHowever, we find that we shall want no more evidence, for on being", "\"I presume that this Jim Browner, the steward of a Liverpool boat, is\nthe man whom you suspect?\"\n\n\"Oh! it is more than a suspicion.\"", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "\"Perhaps not with your tongue, my dear Watson, but certainly with your\neyebrows. So when I saw you throw down your paper and enter upon a", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "\"I cannot see the importance,\" said Lestrade.\n\n\"The importance lies in the fact that the knot is left intact, and that\nthis knot is of a peculiar character.\"", "Holmes scribbled a few words upon the back of one of his visiting cards\nand threw it over to Lestrade.", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "occasional fits of hard drinking. We had reason to believe that his\nwife had been murdered, and that a man--presumably a seafaring man--had", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He" ], [ "\"There were one or two questions--\"\n\n\"Oh, I am weary of questions!\" cried Miss Cushing impatiently.\n\n\"You have two sisters, I believe.\"", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "It was evident that Miss Cushing had come upon a subject on which she\nfelt very deeply. Like most people who lead a lonely life, she was shy", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "matter is the more mysterious as Miss Cushing, who is a maiden lady of\nfifty, has led a most retired life, and has so few acquaintances or", "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "\"I have a few questions to ask Miss Cushing,\" said he.", "Street, where Miss Cushing resided.", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "\"Thank you, Miss Cushing,\" said Holmes, rising and bowing. \"Your\nsister Sarah lives, I think you said, at New Street, Wallington?", "at the doors. Halfway down, Lestrade stopped and tapped at a door,\nwhich was opened by a small servant girl. Miss Cushing was sitting in", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "not observe it? I think there can be no doubt of it. Address printed\nin rather straggling characters: 'Miss S. Cushing, Cross Street,", "respectable lady, who seemed quite innocent of any secret, and a\nportrait which showed me that she had two younger sisters. It\ninstantly flashed across my mind that the box might have been meant for", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "\"Is Miss Cushing at home?\" asked Holmes." ], [ "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "\"Hum! The investigation really was a very simple one,\" remarked\nHolmes, \"but I don't think it struck him in that light when he first", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "been murdered at the same time. Jealousy, of course, at once suggests\nitself as the motive for the crime. And why should these proofs of the", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity.", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "There was a cab passing as we came out, and Holmes hailed it.\n\n\"How far to Wallington?\" he asked.\n\n\"Only about a mile, sir.\"", "\"That is the problem which we have to solve,\" Holmes answered, \"and for\nmy part I shall set about it by presuming that my reasoning is correct," ], [ "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "It was evident that Miss Cushing had come upon a subject on which she\nfelt very deeply. Like most people who lead a lonely life, she was shy", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?", "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "matter is the more mysterious as Miss Cushing, who is a maiden lady of\nfifty, has led a most retired life, and has so few acquaintances or", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "not observe it? I think there can be no doubt of it. Address printed\nin rather straggling characters: 'Miss S. Cushing, Cross Street,", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box" ], [ "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "close to me as a rope to a block if that woman had never darkened our\ndoor. For Sarah Cushing loved me--that's the root of the business--she", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "\"In the first place, her sister's name was Sarah, and her address had\nuntil recently been the same, so that it was quite obvious how the", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "respectable lady, who seemed quite innocent of any secret, and a\nportrait which showed me that she had two younger sisters. It\ninstantly flashed across my mind that the box might have been meant for" ], [ "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "\"'There were three sisters altogether. The old one was just a good\nwoman, the second was a devil, and the third was an angel. Sarah was", "\"'But it was Sarah's fault, and may the curse of a broken man put a\nblight on her and set the blood rotting in her veins! It's not that I", "might come of his soft, tricky ways. And then at last something made\nme suspect, and from that day my peace was gone forever.", "There was no one but Alec Fairbairn whose step she could have mistaken\nfor mine. If I could have seen him then I should have killed him, for", "I killed them quick, but they are killing me slow; and if I have\nanother night of it I shall be either mad or dead before morning. You", "\"That is the name,\" he said. \"You cannot effect an arrest until\nto-morrow night at the earliest. I should prefer that you do not", "But I was still far from satisfied. \"In the example which you read to\nme,\" said I, \"the reasoner drew his conclusions from the actions of the", "He is a big, powerful chap, clean-shaven, and very swarthy--something\nlike Aldrige, who helped us in the bogus laundry affair. He jumped up", "\"'There you have the whole truth of it. You can hang me, or do what\nyou like with me, but you cannot punish me as I have been punished", "\"'Well, I don't know now whether it was pure devilry on the part of\nthis woman, or whether she thought that she could turn me against my", "\"'Well, from that time Sarah hated me with her whole heart and soul,\nand she is a woman who can hate, too. I was a fool to let her go on", "chance, and not choice, has provided him with. With this short preface\nI shall turn to my notes of what proved to be a strange, though a\npeculiarly terrible, chain of events.", "calling him \"Alec.\" I struck again, and she lay stretched beside him.\nI was like a wild beast then that had tasted blood. If Sarah had been", "inseparable. I can see now how she was plotting and scheming and\npoisoning my wife's mind against me, but I was such a blind beetle that", "\"And now the matter had begun to straighten itself out wonderfully. We\nhad learned of the existence of this steward, an impulsive man, of", "\"Most preposterous!\" I exclaimed, and then suddenly realizing how he\nhad echoed the inmost thought of my soul, I sat up in my chair and\nstared at him in blank amazement.", "been the same as ever. She had some reason to be disgusted with me now,\nand the gap between us began to be wider and wider. And then this Alec", "\"No, the May Day, when last I heard. Jim came down here to see me\nonce. That was before he broke the pledge; but afterwards he would" ], [ "\"'Well, from that time Sarah hated me with her whole heart and soul,\nand she is a woman who can hate, too. I was a fool to let her go on", "\"'But it was Sarah's fault, and may the curse of a broken man put a\nblight on her and set the blood rotting in her veins! It's not that I", "enough for Jim Browner. The last six months that she was here she\nwould speak of nothing but his drinking and his ways. He had caught", "\"Well, you are quite right. But she was married to Mr. Browner a few\ndays afterwards. He was on the South American line when that was", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "\"Ah! you don't know Sarah's temper or you would wonder no more. I tried\nit when I came to Croydon, and we kept on until about two months ago,", "close to me as a rope to a block if that woman had never darkened our\ndoor. For Sarah Cushing loved me--that's the root of the business--she", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "\"In the first place, her sister's name was Sarah, and her address had\nuntil recently been the same, so that it was quite obvious how the", "calling him \"Alec.\" I struck again, and she lay stretched beside him.\nI was like a wild beast then that had tasted blood. If Sarah had been", "in this way I saw a deal of my sister-in-law, Sarah. She was a fine\ntall woman, black and quick and fierce, with a proud way of carrying", "inseparable. I can see now how she was plotting and scheming and\npoisoning my wife's mind against me, but I was such a blind beetle that", "wife by encouraging her to misbehave. Anyway, she took a house just\ntwo streets off and let lodgings to sailors. Fairbairn used to stay", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "when we had to part. I don't want to say a word against my own sister,\nbut she was always meddlesome and hard to please, was Sarah.\"", "opinion that she had gone south to see her relatives. It had been\nascertained at the shipping offices that Browner had left aboard of the", "that. But one evening my eyes were opened. I had come up from the ship\nand found my wife out, but Sarah at home. \"Where's Mary?\" I asked.", "\"'Well, Sarah found that she could not make a living in Liverpool, so\nshe went back, as I understand, to live with her sister in Croydon, and", "\"'Well, I don't know now whether it was pure devilry on the part of\nthis woman, or whether she thought that she could turn me against my" ], [ "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity.", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "Holmes scribbled a few words upon the back of one of his visiting cards\nand threw it over to Lestrade.", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "\"What is the meaning of it, Watson?\" said Holmes solemnly as he laid\ndown the paper. \"What object is served by this circle of misery and", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "\"Hum! The investigation really was a very simple one,\" remarked\nHolmes, \"but I don't think it struck him in that light when he first", "In choosing a few typical cases which illustrate the remarkable mental\nqualities of my friend, Sherlock Holmes, I have endeavoured, as far as", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "investigations which you have chronicled under the names of 'A Study in\nScarlet' and of 'The Sign of Four,' we have been compelled to reason", "\"What say you, Watson? Can you rise superior to the heat and run down\nto Croydon with me on the off chance of a case for your annals?\"\n\n\"I was longing for something to do.\"", "There was a cab passing as we came out, and Holmes hailed it.\n\n\"How far to Wallington?\" he asked.\n\n\"Only about a mile, sir.\"", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"", "\"I cannot see the importance,\" said Lestrade.\n\n\"The importance lies in the fact that the knot is left intact, and that\nthis knot is of a peculiar character.\"" ], [ "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "It was evident that Miss Cushing had come upon a subject on which she\nfelt very deeply. Like most people who lead a lonely life, she was shy", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "\"There were one or two questions--\"\n\n\"Oh, I am weary of questions!\" cried Miss Cushing impatiently.\n\n\"You have two sisters, I believe.\"", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?" ], [ "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "best of Miss Cushing's belief, from Belfast. In the meantime, the\nmatter is being actively investigated, Mr. Lestrade, one of the very", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "at the doors. Halfway down, Lestrade stopped and tapped at a door,\nwhich was opened by a small servant girl. Miss Cushing was sitting in", "\"In that case I may leave you here,\" said Lestrade, \"for I have another\nsmall business on hand. I think that I have nothing further to learn\nfrom Miss Cushing. You will find me at the police-station.\"", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "several times to the gentlemen from Scotland Yard, but he simply laughs\nat me. I have not an enemy in the world, as far as I know, so why\nshould anyone play me such a trick?\"", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of" ], [ "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "'i', which has been changed to 'y'. The parcel was directed, then, by\na man--the printing is distinctly masculine--of limited education and", "correspondents that it is a rare event for her to receive anything\nthrough the post. Some years ago, however, when she resided at Penge,\nshe let apartments in her house to three young medical students, whom", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "in three carriages behind them. When we reached it they walked along\nthe Parade, and I was never more than a hundred yards from them. At", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "\"Ha! It is the answer!\" He tore it open, glanced his eyes over it,\nand crumpled it into his pocket. \"That's all right,\" said he.\n\n\"Have you found out anything?\"", "day, and they have no means of identifying this particular one, or of\nremembering the sender. The box is a half-pound box of honeydew" ], [ "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity.", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "\"I cannot see the importance,\" said Lestrade.\n\n\"The importance lies in the fact that the knot is left intact, and that\nthis knot is of a peculiar character.\"", "Holmes scribbled a few words upon the back of one of his visiting cards\nand threw it over to Lestrade.", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"What is the meaning of it, Watson?\" said Holmes solemnly as he laid\ndown the paper. \"What object is served by this circle of misery and", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "Finding that Holmes was too absorbed for conversation I had tossed aside\nthe barren paper, and leaning back in my chair I fell into a brown\nstudy. Suddenly my companion's voice broke in upon my thoughts:" ], [ "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "\"What is the meaning of it, Watson?\" said Holmes solemnly as he laid\ndown the paper. \"What object is served by this circle of misery and", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "Holmes scribbled a few words upon the back of one of his visiting cards\nand threw it over to Lestrade.", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity.", "There was a cab passing as we came out, and Holmes hailed it.\n\n\"How far to Wallington?\" he asked.\n\n\"Only about a mile, sir.\"", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the" ], [ "\"As a medical man, you are aware, Watson, that there is no part of the\nbody which varies so much as the human ear. Each ear is as a rule", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "upon the subject. I had, therefore, examined the ears in the box with\nthe eyes of an expert and had carefully noted their anatomical\npeculiarities. Imagine my surprise, then, when on looking at Miss", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "\"Yes, I have noticed that. But if this were the practical joke of some\nstudents from the dissecting-rooms, it would be as easy for them to\nsend two odd ears as a pair.\"", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "and that a double murder has been committed. One of these ears is a\nwoman's, small, finely formed, and pierced for an earring. The other", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "before going further. An unsuccessful lover might have killed Mr. and\nMrs. Browner, and the male ear might have belonged to the husband.\nThere were many grave objections to this theory, but it was", "doubt it. If she knew, why should she call the police in? She might\nhave buried the ears, and no one would have been the wiser. That is", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"Perhaps not with your tongue, my dear Watson, but certainly with your\neyebrows. So when I saw you throw down your paper and enter upon a", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "In choosing a few typical cases which illustrate the remarkable mental\nqualities of my friend, Sherlock Holmes, I have endeavoured, as far as" ], [ "\"As a medical man, you are aware, Watson, that there is no part of the\nbody which varies so much as the human ear. Each ear is as a rule", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "upon the subject. I had, therefore, examined the ears in the box with\nthe eyes of an expert and had carefully noted their anatomical\npeculiarities. Imagine my surprise, then, when on looking at Miss", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "\"Yes, I have noticed that. But if this were the practical joke of some\nstudents from the dissecting-rooms, it would be as easy for them to\nsend two odd ears as a pair.\"", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "and that a double murder has been committed. One of these ears is a\nwoman's, small, finely formed, and pierced for an earring. The other", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity.", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"" ], [ "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "\"Thank you, Miss Cushing,\" said Holmes, rising and bowing. \"Your\nsister Sarah lives, I think you said, at New Street, Wallington?", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"In that case I may leave you here,\" said Lestrade, \"for I have another\nsmall business on hand. I think that I have nothing further to learn\nfrom Miss Cushing. You will find me at the police-station.\"", "Finding that Holmes was too absorbed for conversation I had tossed aside\nthe barren paper, and leaning back in my chair I fell into a brown\nstudy. Suddenly my companion's voice broke in upon my thoughts:", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "\"Is Miss Cushing at home?\" asked Holmes.", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "close to me as a rope to a block if that woman had never darkened our\ndoor. For Sarah Cushing loved me--that's the root of the business--she", "at the doors. Halfway down, Lestrade stopped and tapped at a door,\nwhich was opened by a small servant girl. Miss Cushing was sitting in", "It was evident that Miss Cushing had come upon a subject on which she\nfelt very deeply. Like most people who lead a lonely life, she was shy", "winter. Our blinds were half-drawn, and Holmes lay curled upon the\nsofa, reading and re-reading a letter which he had received by the", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "best of Miss Cushing's belief, from Belfast. In the meantime, the\nmatter is being actively investigated, Mr. Lestrade, one of the very", "\"Well, if we can't we can't,\" said Holmes, cheerfully.\n\n\"Perhaps she could not or would not have told you much.\"", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that" ], [ "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "mention my name at all in connection with the case, as I choose to be\nonly associated with those crimes which present some difficulty in\ntheir solution. Come on, Watson.\" We strode off together to the", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"", "\"Hum! The investigation really was a very simple one,\" remarked\nHolmes, \"but I don't think it struck him in that light when he first", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "been murdered at the same time. Jealousy, of course, at once suggests\nitself as the motive for the crime. And why should these proofs of the", "\"So I shall, Miss Cushing. I only kept them here until my friend, Mr.\nHolmes, should have seen them in your presence.\"\n\n\"Why in my presence, sir?\"", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"", "\"The case,\" said Sherlock Holmes as we chatted over our cigars that\nnight in our rooms at Baker Street, \"is one where, as in the", "best of Miss Cushing's belief, from Belfast. In the meantime, the\nmatter is being actively investigated, Mr. Lestrade, one of the very", "\"That is the problem which we have to solve,\" Holmes answered, \"and for\nmy part I shall set about it by presuming that my reasoning is correct,", "Holmes scribbled a few words upon the back of one of his visiting cards\nand threw it over to Lestrade.", "\"What is this, Holmes?\" I cried. \"This is beyond anything which I\ncould have imagined.\"\n\nHe laughed heartily at my perplexity." ], [ "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "\"I presume that this Jim Browner, the steward of a Liverpool boat, is\nthe man whom you suspect?\"\n\n\"Oh! it is more than a suspicion.\"", "enough for Jim Browner. The last six months that she was here she\nwould speak of nothing but his drinking and his ways. He had caught", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "On inquiry, I found that there was a steward on board of the name of\nJames Browner and that he had acted during the voyage in such an\nextraordinary manner that the captain had been compelled to relieve him", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"I have found out everything!\"\n\n\"What!\" Lestrade stared at him in amazement. \"You are joking.\"", "brought before the inspector at the station he asked leave to make a\nstatement, which was, of course, taken down, just as he made it, by our", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "that Lestrade, as wiry, as dapper, and as ferret-like as ever, was\nwaiting for us at the station. A walk of five minutes took us to Cross", "several times to the gentlemen from Scotland Yard, but he simply laughs\nat me. I have not an enemy in the world, as far as I know, so why\nshould anyone play me such a trick?\"", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "away. Then she stood by my side in silence for a bit, and then put up\nher hand and patted me on the shoulder. \"Steady old Jim!\" said she,", "backward from effects to causes. I have written to Lestrade asking him\nto supply us with the details which are now wanting, and which he will\nonly get after he had secured his man. That he may be safely trusted", "best of Miss Cushing's belief, from Belfast. In the meantime, the\nmatter is being actively investigated, Mr. Lestrade, one of the very", "\"In that case I may leave you here,\" said Lestrade, \"for I have another\nsmall business on hand. I think that I have nothing further to learn\nfrom Miss Cushing. You will find me at the police-station.\"", "\"I cannot see the importance,\" said Lestrade.\n\n\"The importance lies in the fact that the knot is left intact, and that\nthis knot is of a peculiar character.\"" ], [ "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "\"'There were three sisters altogether. The old one was just a good\nwoman, the second was a devil, and the third was an angel. Sarah was", "\"'But it was Sarah's fault, and may the curse of a broken man put a\nblight on her and set the blood rotting in her veins! It's not that I", "There was no one but Alec Fairbairn whose step she could have mistaken\nfor mine. If I could have seen him then I should have killed him, for", "\"'Well, I don't know now whether it was pure devilry on the part of\nthis woman, or whether she thought that she could turn me against my", "\"'Well, from that time Sarah hated me with her whole heart and soul,\nand she is a woman who can hate, too. I was a fool to let her go on", "calling him \"Alec.\" I struck again, and she lay stretched beside him.\nI was like a wild beast then that had tasted blood. If Sarah had been", "I killed them quick, but they are killing me slow; and if I have\nanother night of it I shall be either mad or dead before morning. You", "\"'There you have the whole truth of it. You can hang me, or do what\nyou like with me, but you cannot punish me as I have been punished", "might come of his soft, tricky ways. And then at last something made\nme suspect, and from that day my peace was gone forever.", "But I was still far from satisfied. \"In the example which you read to\nme,\" said I, \"the reasoner drew his conclusions from the actions of the", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "inseparable. I can see now how she was plotting and scheming and\npoisoning my wife's mind against me, but I was such a blind beetle that", "been murdered at the same time. Jealousy, of course, at once suggests\nitself as the motive for the crime. And why should these proofs of the", "chance, and not choice, has provided him with. With this short preface\nI shall turn to my notes of what proved to be a strange, though a\npeculiarly terrible, chain of events.", "\"That is the name,\" he said. \"You cannot effect an arrest until\nto-morrow night at the earliest. I should prefer that you do not", "been the same as ever. She had some reason to be disgusted with me now,\nand the gap between us began to be wider and wider. And then this Alec", "\"Most preposterous!\" I exclaimed, and then suddenly realizing how he\nhad echoed the inmost thought of my soul, I sat up in my chair and\nstared at him in blank amazement.", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or" ], [ "enough for Jim Browner. The last six months that she was here she\nwould speak of nothing but his drinking and his ways. He had caught", "\"I presume that this Jim Browner, the steward of a Liverpool boat, is\nthe man whom you suspect?\"\n\n\"Oh! it is more than a suspicion.\"", "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "\"Well, you are quite right. But she was married to Mr. Browner a few\ndays afterwards. He was on the South American line when that was", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "On inquiry, I found that there was a steward on board of the name of\nJames Browner and that he had acted during the voyage in such an\nextraordinary manner that the captain had been compelled to relieve him", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "opinion that she had gone south to see her relatives. It had been\nascertained at the shipping offices that Browner had left aboard of the", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "before going further. An unsuccessful lover might have killed Mr. and\nMrs. Browner, and the male ear might have belonged to the husband.\nThere were many grave objections to this theory, but it was", "home, and if Browner had departed in the May Day. Then we went on to\nWallington to visit Miss Sarah.", "call at Belfast, Dublin, and Waterford; so that, presuming that Browner\nhad committed the deed and had embarked at once upon his steamer, the", "He is a big, powerful chap, clean-shaven, and very swarthy--something\nlike Aldrige, who helped us in the bogus laundry affair. He jumped up", "Finding that Holmes was too absorbed for conversation I had tossed aside\nthe barren paper, and leaning back in my chair I fell into a brown\nstudy. Suddenly my companion's voice broke in upon my thoughts:", "hers. I'm never without one or the other before me. He looks frowning\nand black-like, but she has a kind o' surprise upon her face. Ay, the", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "\"You are very quick at observing.\"\n\n\"That is my trade.\"", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "\"That is the name,\" he said. \"You cannot effect an arrest until\nto-morrow night at the earliest. I should prefer that you do not" ], [ "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "brought before the inspector at the station he asked leave to make a\nstatement, which was, of course, taken down, just as he made it, by our", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "several times to the gentlemen from Scotland Yard, but he simply laughs\nat me. I have not an enemy in the world, as far as I know, so why\nshould anyone play me such a trick?\"", "He took out the two ears as he spoke, and laying a board across his\nknee he examined them minutely, while Lestrade and I, bending forward", "\"We shall look in on our way to the train,\" answered Holmes. A moment\nlater he and I were back in the front room, where the impassive lady", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "\"That is the name,\" he said. \"You cannot effect an arrest until\nto-morrow night at the earliest. I should prefer that you do not", "He is a big, powerful chap, clean-shaven, and very swarthy--something\nlike Aldrige, who helped us in the bogus laundry affair. He jumped up", "\"Lestrade has got him all right,\" said Holmes, glancing up at me.\n\"Perhaps it would interest you to hear what he says.\n\n\"My dear Mr. Holmes:", "On inquiry, I found that there was a steward on board of the name of\nJames Browner and that he had acted during the voyage in such an\nextraordinary manner that the captain had been compelled to relieve him", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "extraordinary man. The afternoon was far advanced and the hot glare\nhad softened into a mellow glow before we found ourselves at the\npolice-station. Lestrade was waiting for us at the door.", "\"So much for the Daily Chronicle,\" said Holmes as I finished reading.\n\"Now for our friend Lestrade. I had a note from him this morning, in\nwhich he says:", "\"Hum! The investigation really was a very simple one,\" remarked\nHolmes, \"but I don't think it struck him in that light when he first", "best of Miss Cushing's belief, from Belfast. In the meantime, the\nmatter is being actively investigated, Mr. Lestrade, one of the very", "crowd round the booking-office, so I got quite close to them without\nbeing seen. They took tickets for New Brighton. So did I, but I got", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"The string is exceedingly interesting,\" he remarked, holding it up to\nthe light and sniffing at it. \"What do you make of this string,\nLestrade?\"\n\n\"It has been tarred.\"" ], [ "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "\"I was never more serious in my life. A shocking crime has been\ncommitted, and I think I have now laid bare every detail of it.\"\n\n\"And the criminal?\"", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?", "\"It is fairly complete in essentials. We know who the author of the\nrevolting business is, although one of the victims still escapes us.\nOf course, you have formed your own conclusions.\"", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "several times to the gentlemen from Scotland Yard, but he simply laughs\nat me. I have not an enemy in the world, as far as I know, so why\nshould anyone play me such a trick?\"", "respectable lady, who seemed quite innocent of any secret, and a\nportrait which showed me that she had two younger sisters. It\ninstantly flashed across my mind that the box might have been meant for", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "day during that time. Why on earth, then, should any criminal send her\nthe proofs of his guilt, especially as, unless she is a most consummate", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "'i', which has been changed to 'y'. The parcel was directed, then, by\na man--the printing is distinctly masculine--of limited education and" ], [ "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "call at Belfast, Dublin, and Waterford; so that, presuming that Browner\nhad committed the deed and had embarked at once upon his steamer, the", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "opinion that she had gone south to see her relatives. It had been\nascertained at the shipping offices that Browner had left aboard of the", "\"I presume that this Jim Browner, the steward of a Liverpool boat, is\nthe man whom you suspect?\"\n\n\"Oh! it is more than a suspicion.\"", "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "On inquiry, I found that there was a steward on board of the name of\nJames Browner and that he had acted during the voyage in such an\nextraordinary manner that the captain had been compelled to relieve him", "enough for Jim Browner. The last six months that she was here she\nwould speak of nothing but his drinking and his ways. He had caught", "\"Well, you are quite right. But she was married to Mr. Browner a few\ndays afterwards. He was on the South American line when that was", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "home, and if Browner had departed in the May Day. Then we went on to\nWallington to visit Miss Sarah.", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"So much for the string, then,\" said Holmes, smiling, \"now for the box\nwrapper. Brown paper, with a distinct smell of coffee. What, did you" ], [ "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "\"Ha! It is the answer!\" He tore it open, glanced his eyes over it,\nand crumpled it into his pocket. \"That's all right,\" said he.\n\n\"Have you found out anything?\"", "in three carriages behind them. When we reached it they walked along\nthe Parade, and I was never more than a hundred yards from them. At", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "'i', which has been changed to 'y'. The parcel was directed, then, by\na man--the printing is distinctly masculine--of limited education and", "of brown paper and some string. There was a bench at the end of the\npath, and we all sat down while Homes examined one by one, the articles\nwhich Lestrade had handed to him.", "been doing, and whom my letters were from, and what I had in my\npockets, and a thousand such follies. Day by day she grew queerer and", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "correspondents that it is a rare event for her to receive anything\nthrough the post. Some years ago, however, when she resided at Penge,\nshe let apartments in her house to three young medical students, whom" ], [ "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "correspondents that it is a rare event for her to receive anything\nthrough the post. Some years ago, however, when she resided at Penge,\nshe let apartments in her house to three young medical students, whom", "'i', which has been changed to 'y'. The parcel was directed, then, by\na man--the printing is distinctly masculine--of limited education and", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "\"Ha! It is the answer!\" He tore it open, glanced his eyes over it,\nand crumpled it into his pocket. \"That's all right,\" said he.\n\n\"Have you found out anything?\"", "\"'It was only a little thing, too. I had come into the parlour\nunexpected, and as I walked in at the door I saw a light of welcome on", "in three carriages behind them. When we reached it they walked along\nthe Parade, and I was never more than a hundred yards from them. At", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "Sherlock Holmes was not disappointed in his expectations. Two days\nlater he received a bulky envelope, which contained a short note from\nthe detective, and a typewritten document, which covered several pages\nof foolscap.", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "respectable lady, who seemed quite innocent of any secret, and a\nportrait which showed me that she had two younger sisters. It\ninstantly flashed across my mind that the box might have been meant for", "been doing, and whom my letters were from, and what I had in my\npockets, and a thousand such follies. Day by day she grew queerer and", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?" ], [ "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "It was evident that Miss Cushing had come upon a subject on which she\nfelt very deeply. Like most people who lead a lonely life, she was shy", "Miss Cushing, and although her initial was 'S' it might belong to one\nof the others as well. In that case we should have to commence our\ninvestigation from a fresh basis altogether. I therefore went into the", "Street, where Miss Cushing resided.", "\"There were one or two questions--\"\n\n\"Oh, I am weary of questions!\" cried Miss Cushing impatiently.\n\n\"You have two sisters, I believe.\"", "\"Miss Sarah Cushing is extremely ill,\" said he. \"She has been\nsuffering since yesterday from brain symptoms of great severity. As her", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "close to me as a rope to a block if that woman had never darkened our\ndoor. For Sarah Cushing loved me--that's the root of the business--she", "deed be sent to Miss Sarah Cushing? Probably because during her\nresidence in Liverpool she had some hand in bringing about the events\nwhich led to the tragedy. You will observe that this line of boats", "matter is the more mysterious as Miss Cushing, who is a maiden lady of\nfifty, has led a most retired life, and has so few acquaintances or", "was inside, which was filled with coarse salt. On emptying this, Miss\nCushing was horrified to find two human ears, apparently quite freshly", "earlier. If the two people were murdered, who but their murderer would\nhave sent this sign of his work to Miss Cushing? We may take it that", "\"Thank you, Miss Cushing,\" said Holmes, rising and bowing. \"Your\nsister Sarah lives, I think you said, at New Street, Wallington?", "house with the intention of clearing up this point. I was about to\nassure Miss Cushing that I was convinced that a mistake had been made\nwhen you may remember that I came suddenly to a stop. The fact was", "\"Precisely. It is a piece of tarred twine. You have also, no doubt,\nremarked that Miss Cushing has cut the cord with a scissors, as can be", "\"I am coming to be of the same opinion, Miss Cushing,\" said Holmes,\ntaking a seat beside her. \"I think that it is more than probable--\" He", "not observe it? I think there can be no doubt of it. Address printed\nin rather straggling characters: 'Miss S. Cushing, Cross Street,", "perpetrated upon Miss Cushing by these youths, who owed her a grudge\nand who hoped to frighten her by sending her these relics of the", "\"I have a few questions to ask Miss Cushing,\" said he.", "at the doors. Halfway down, Lestrade stopped and tapped at a door,\nwhich was opened by a small servant girl. Miss Cushing was sitting in" ], [ "enough for Jim Browner. The last six months that she was here she\nwould speak of nothing but his drinking and his ways. He had caught", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "\"Well, you are quite right. But she was married to Mr. Browner a few\ndays afterwards. He was on the South American line when that was", "send them. Nothing could be more conclusive. Mrs. Browner's house had\nbeen closed for more than three days, and the neighbours were of", "wife by encouraging her to misbehave. Anyway, she took a house just\ntwo streets off and let lodgings to sailors. Fairbairn used to stay", "conceivable. I therefore sent off a telegram to my friend Algar, of\nthe Liverpool force, and asked him to find out if Mrs. Browner were at", "\"I presume that this Jim Browner, the steward of a Liverpool boat, is\nthe man whom you suspect?\"\n\n\"Oh! it is more than a suspicion.\"", "home, and if Browner had departed in the May Day. Then we went on to\nWallington to visit Miss Sarah.", "opinion that she had gone south to see her relatives. It had been\nascertained at the shipping offices that Browner had left aboard of the", "called us in. However, let us see what Jim Browner has to say for\nhimself. This is his statement as made before Inspector Montgomery at\nthe Shadwell Police Station, and it has the advantage of being", "On inquiry, I found that there was a steward on board of the name of\nJames Browner and that he had acted during the voyage in such an\nextraordinary manner that the captain had been compelled to relieve him", "before going further. An unsuccessful lover might have killed Mr. and\nMrs. Browner, and the male ear might have belonged to the husband.\nThere were many grave objections to this theory, but it was", "away. Then she stood by my side in silence for a bit, and then put up\nher hand and patted me on the shoulder. \"Steady old Jim!\" said she,", "my wife's face. But as she saw who it was it faded again, and she\nturned away with a look of disappointment. That was enough for me.", "that. But one evening my eyes were opened. I had come up from the ship\nand found my wife out, but Sarah at home. \"Where's Mary?\" I asked.", "hers. I'm never without one or the other before me. He looks frowning\nand black-like, but she has a kind o' surprise upon her face. Ay, the", "call at Belfast, Dublin, and Waterford; so that, presuming that Browner\nhad committed the deed and had embarked at once upon his steamer, the", "\"Miss Susan Cushing, living at Cross Street, Croydon, has been made the\nvictim of what must be regarded as a peculiarly revolting practical", "Liverpool there was no better woman than my Mary. And then we asked\nSarah up for a week, and the week grew into a month, and one thing led\nto another, until she was just one of ourselves.", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone" ], [ "\"I am convinced, sir,\" she said, \"that this matter is a mistake, and\nthat the parcel was never meant for me at all. I have said this", "severed. The box had been sent by parcel post from Belfast upon the\nmorning before. There is no indication as to the sender, and the", "joke unless some more sinister meaning should prove to be attached to\nthe incident. At two o'clock yesterday afternoon a small packet,\nwrapped in brown paper, was handed in by the postman. A cardboard box", "mistake had occurred and for whom the packet was meant. Then we heard\nof this steward, married to the third sister, and learned that he had\nat one time been so intimate with Miss Sarah that she had actually gone", "I picked up the paper which he had thrown back to me and read the\nparagraph indicated. It was headed, \"A Gruesome Packet.\"", "'i', which has been changed to 'y'. The parcel was directed, then, by\na man--the printing is distinctly masculine--of limited education and", "investigation. When I observed that the knot was one which is popular\nwith sailors, that the parcel had been posted at a port, and that the", "up to Liverpool to be near the Browners, but a quarrel had afterwards\ndivided them. This quarrel had put a stop to all communications for\nsome months, so that if Browner had occasion to address a packet to", "respectable lady, who seemed quite innocent of any secret, and a\nportrait which showed me that she had two younger sisters. It\ninstantly flashed across my mind that the box might have been meant for", "\"When I came to examine the address of the packet I observed that it\nwas to Miss S. Cushing. Now, the oldest sister would, of course, be", "story before now. To-day is Friday. The packet was posted on Thursday\nmorning. The tragedy, then, occurred on Wednesday or Tuesday, or", "the sender of the packet is the man whom we want. But he must have some\nstrong reason for sending Miss Cushing this packet. What reason then?", "what had passed. That night I made up the packet for Sarah Cushing,\nand next day I sent it from Belfast.", "It must have been to tell her that the deed was done! or to pain her,\nperhaps. But in that case she knows who it is. Does she know? I", "the remarkable contents of a packet sent through the post to Miss\nCushing, of Cross Street, Croydon?\"", "packet was meant. If she had been willing to help justice she would\nprobably have communicated with the police already. However, it was", "in three carriages behind them. When we reached it they walked along\nthe Parade, and I was never more than a hundred yards from them. At", "\"'It was only a little thing, too. I had come into the parlour\nunexpected, and as I walked in at the door I saw a light of welcome on", "day, and they have no means of identifying this particular one, or of\nremembering the sender. The box is a half-pound box of honeydew", "correspondents that it is a rare event for her to receive anything\nthrough the post. Some years ago, however, when she resided at Penge,\nshe let apartments in her house to three young medical students, whom" ] ]

[ "Why does Holmes think the medical students didn't send the ears?", "What piece of evidence makes Holmes think the suspect is a sailor?", "How many sisters does Miss Cushing have?", "Who does Holmes think is the murderer at first?", "Why did Miss Cushing get the parcel?", "Why was the package meant for Sarah Cushing?", "Who is the real bad guy of the story?", "Why did Sarah set out to ruin Browner's marriage?", "What does Holmes nickname the crime?", "What were the contents of the upsetting parcel Miss Susan Cushing received?", "Why does Inspector Lestgrade of Scotland Yard suspect Miss Cushing's former boarders are guilty of sending the parcel?", "Where was the parcel sent from?", "Why does Holmes believe the package is evidence of more than just a prank?", "Who does Holmes believe the package was meant for?", "What makes Holmes think someone with experience in sailing sent the ears?", "Who's ears does Holmes believe are in the parcel?", "What reason was Holmes given for being unable to visit with Sarah Cushing?", "Who does Holmes believe the murderer is?", "How does Jim Browner respond when questioned by Inspector Lestgrade?", "Who is considered the real villain of the story?", "What is Browner's occupation?", "Who is the inspector?", "Who does the inspector think sent the parcel?", "Which port did Browner send the parcel from?", "What was in the parcel sent?", "Who received the parcel?", "Where is Susan Cushing from?", "Who was Browners wife?", "Who was the parcel meant for?" ]

[ [ "Because the ears were set in salt water which medical students wouldn't use", "They wouldn't use plain salt" ], [ "The knot of the package", "The knot in the string" ], [ "Two - Mary and Sarah", "2" ], [ "Jim Browner, Mary's estranged husband", "Jim Browner" ], [ "Because it was addressed to an S. Cushing.", "Because Jim Browner thought Sarah still lived at the address and Susan and Sarah both start with S." ], [ "It was meant to horrify her.", "Browner believed she was the trouble that cost him his wife and kids" ], [ "Sarah", "Sarah Cushing" ], [ "He rejected her advances.", "he rejected her" ], [ "A crime of passion", "Adventure of the Cardboard Box" ], [ "two severed human ears packed in salt", "2 severed ears" ], [ "because she evicted them, and they had access to a dissection lab", "Because they are medical students." ], [ "Belfast", "Belfast" ], [ "He thinks the students would not have used salt, would have made more precise cuts, and would not have made the spelling errors.", "Because there is evidence that the sender is not the medical students, and thus the ears were gotten by means of a crime. " ], [ "Susan Cushing's little sister, Sarah Cushing", "Sarah Cushings" ], [ "a knot in the string", "a knot" ], [ "Susan Cushing's other sister Mary.", "Miss Cushing's sister and her lover. " ], [ "She had brain fever", "brain fever" ], [ "Jim Browner", "a sailor" ], [ "He confesses", "He confesses" ], [ "Sarah Cushing", "Browner" ], [ "sailor", "Sailor" ], [ "Lestrade of Scotland", "Inspector Lestrade of Scotland Yard. " ], [ "3 Medical students", "medical students" ], [ "Belfast", "Belfast." ], [ "Severed ears", "Two severed human ears" ], [ "Susan Cushing", "Susan Cushing" ], [ "Croydon", "Croydon" ], [ "Mary Cushing", "Mary" ], [ "Sarah Cushing", "Sarah Cushing" ] ]

[ [ "Basher flips the switch. BOOM! A quick TREMOR, then\n stillness. He picks a point on the horizon, like Babe\n Ruth, and suddenly...", "As Basher enters, Livingston and Frank watch on a monitor\n Linus punching in the combination he stole from Benedict\n as Danny unravels a thin electrical wire connected to a\n detonator.", "All the lights are back on, and Basher observes his\n achievement with great pride, his job complete.\n\n BASHER\n Viva Las Vegas.", "DANNY (V.O.)\n Second task: power. On the night\n of the fight, we're gonna throw\n the switch on sin city. Basher,\n it's your show.", "BASHER\n Then give me thirteen seconds.\n\n And Basher leaps down to hook up the pinch's wires to his\n van's engine.", "Basher drops into the hole, pulling the cover over him,\n as we PULL UP OVER the Bellagio and...\n\n DISSOLVE TO:", "He splices into all sorts of wires and lines and cables.\n Meanwhile...\n\n\n75 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 75", "BASHER\n I'm there.\n\n And he SCREECHES to a halt on the parking structure's\n top level. Vegas can be seen in every direction.", "The Cop looks bewildered. Rusty steps forward, yanks\n Basher onto his feet, spins him around. He moves his\n hands up and down Basher's legs, around his waist, under\n his arms.", "BASHER\n ... ten...\n\n In the distance, lights come up again, first at the\n Mirage, then the MGM, gradually approaching...", "settles, three men move quickly past Basher and into\n (what the settling fog now reveals to be) a dynamited\n bank vault. ALARMS begin to sound: this is bad news.", "The white VAN SCREECHES to a halt inches from Basher who\n stands ready beside the pinch (and the now-gutted and", "Frank pays up. Behind him, a DOOR SLAMS, and he turns to\n see Basher, at last. Sniffing the air, he double-takes\n -- Basher's covered head-to-toe in sewage.", "Both fighters move in simultaneously, sweat flying, both\n reach back, both going for the lights-out power cut to\n the jaw, when... lights out.\n\n BASHER (V.O.)\n ... four, five...", "... the floor is going nuts. After the ten seconds of\n darkness, all bets are off. Some players doubled-down\n during the blackout, others miraculously halved their", "With two dozen other tourists, Basher crosses the street\n and when he meets a manhole cover he stops and,\n extracting a small metal hook from his jacket, removes it", "113 CONTINUED: 113\n\n BASHER\n Shit.", "The men exit through the front doors, their hands over\n their heads, Basher trailing them. Policemen and SWAT\n members encircle the group, weapons trained on them,\n chock full of instructions.", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "175 EXT. BELLAGIO PARKING LOT - MOVING WITH BASHER - NIGHT 175" ], [ "RUSTY\n Where do you want to go first?\n\n DANNY\n To a phone.\n\n Rusty had anticipated this.", "Danny looks to Rusty who, behind them, tampers with\n Livingston's audio-video setup: several portable\n monitors, a laptop and modem, telephone headset, etc.", "DANNY\n 29:47. Everything okay in there?\n\n Yen responds. Of course, Danny doesn't understand him.\n But Rusty does, appearing behind him.", "Danny pulls on civilian clothes and there's not a bare\n thread among them. He tugs his cuffs and smiles: The\n old skin feels good. One last item to don: a silver", "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks.", "... a hand yanks it free from above. It's Danny.\n\n DANNY\n You didn't really think I was\n gonna sit this one out, did you?", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "Earlier that night, just after Rusty kicked Danny off\n the job. As Linus watches from inside, deaf to their\n conversation, blind to their expressions, Danny and\n Rusty confer.", "Saul's not fooling anyone: he's scared, right down to\n his Florsheims. Danny nods to the tailor: \"Give us a\n moment.\"", "Danny's eyes flash from Tishkoff to Saul, behind him,\n dressed in his usual frumpy attire: that's what he\n missed.\n\n DANNY\n Get your wallet.", "DANNY'S POV", "... Reuben gets brushed from behind by the two\n Plainclothes Goons following Danny.", "10 INT. SUB SHOP - FOYER - NIGHT 10\n\n Danny pulls a business card from his jacket, picks up the\n phone again, and dials the card's number.", "The great metal door opens, and Danny stands within its\n frame, ready for release. (If it matters -- and if you\n notice -- he's wearing his wedding ring.)", "DANNY\n This is my job.\n\n RUSTY\n Not anymore.", "Livingston exits. Everyone else in the room staggers\n about, like witnesses after an execution. Rusty steps\n out onto the balcony, perhaps to console Danny, but (as", "DANNY (V.O.)\n How are his nerves?\n\n RUSTY (V.O.)\n Okay.\n (beat)\n Not so bad you'd notice.", "Danny shakes his head: no such luck.\n\n LIVINGSTON\n Then this is definitely a black\n bag job. Do they employ an in-\n house technician?", "178 INT. INTERROGATION ROOM - 06:36 178\n\n Danny sits opposite two Plainclothes Goons in absolute\n silence, waiting.", "SAUL\n This is nice material.\n\n DANNY\n It's Armani, Saul." ], [ "And Tess remains, thinking: he's rich, he's handsome and\n wooing, but is she happy?", "Tess, readying herself for the big evening, meets her own\n glance in a dressing mirror, then spots Benedict in its\n reflection, pacing the bedroom behind her.", "Tess, her eyes roaming the crowd, finds a pair staring\n back at her: Danny's. She holds his glance a moment --\n long enough for both Linus and Benedict to notice --\n before turning away, to...", "... it's Tess, rounding a corner toward the restaurant.\n Danny jumps to his feet, throws a tip on the bar, and\n goes.", "He spins and -- gasp -- comes face-to-face with Tess.\n She stares at him directly: she knows.", "DANNY\n Does he make you laugh?\n\n TESS\n He doesn't make me cry.", "Benedict enters, and fear enters with him. And, of\n course, Tess. As the room buzzes with activity, he keeps\n the cell phone pressed to his ear.", "Hanging up, Benedict approaches her, puts his hands on\n her shoulders...\n\n BENEDICT\n What are you thinking about?\n\n TESS\n You.", "This surprises Tess, and, truth be told, saddens her; she\n studies him a moment, unsure of what to say.\n\n TESS\n Oh... then... good-bye.", "TESS\n Spoken like a true ex-husband.\n\n DANNY\n I'm not joking, Tess.", "DANNY\n Be good.\n\n Danny leaves her. Tess watches him go.", "DANNY\n (simultaneously)\n -- I can't.\n\n An awkward silence. Benedict takes Tess's hand in his.", "Benedict moves toward the painting, and as he does he\n catches Tess in his glance, and his smile deepens. Then:", "DANNY\n And I still get Monet and Manet\n confused. Which one married his\n mistress?\n\n TESS\n Monet.", "DANNY\n (standing over her,\n grinning)\n Hello, Tess.", "DANNY\n I only have one?\n\n TESS\n You've met too many people like you.\n (then)\n I'm with Terry now.", "BENEDICT\n Tess...\n (as she doesn't\n stop)\n Tess?", "Tess isn't sure what to do. As Rusty continues on the\n phone, she backs off, debating: can she blow the whistle\n on her ex?", "DANNY\n Year and a half.\n\n A light smile from Tess.\n\n TESS\n Do you know what your problem is?", "SAUL\n Tess is with Benedict now?\n (as nobody responds)\n She's too tall for him." ], [ "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks.", "... Danny climbs onto Bruiser's shoulders and pushes\n through the ceiling rafters, groaning every time Bruiser\n slaps his fist into his hand.", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "Bruiser throws a mean left hook across Danny's face as\n the door swings open and Benedict steps in. Bruiser sees\n him and steps away, toweling off his bloodied knuckles.", "The great metal door opens, and Danny stands within its\n frame, ready for release. (If it matters -- and if you\n notice -- he's wearing his wedding ring.)", "The Goons exit. Danny and the Bruiser face off. And as\n Danny opens his mouth to speak, Bruiser's fist flashes\n out and knocks him down. Danny rises, wiping a little\n blood from his lip.", "... The SUBWAY SQUEALS to a stop. Linus jumps out,\n leaving his prey aboard, and a few moments later, Danny\n steps off, too.", "Danny spins to look out the back of the van, Basher by\n his side. His eyes scan the compound, then:\n\n DANNY\n There he is.", "another guard to the vault elevator. On another: Danny\n is escorted inside the cage by the Plainclothes Goons.", "Danny takes a flat hand and slaps the door hard.\n\n\n217 INT. VAULT 217", "The Goons shake their heads. Danny smiles at the\n Bruiser, and the Bruiser snarls back, showing off those", "And the next door opens, and Danny, Basher, and Yen\n appear, pinch in hand -- they've succeeded. They weave a\n path to the van...", "DANNY\n Jesus, Bruiser, not 'til later.\n\n BRUISER\n Sorry, Danny. I -- I forgot.", "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here.", "DANNY'S POV", "Livingston exits. Everyone else in the room staggers\n about, like witnesses after an execution. Rusty steps\n out onto the balcony, perhaps to console Danny, but (as", "RUSTY\n Where do you want to go first?\n\n DANNY\n To a phone.\n\n Rusty had anticipated this.", "Danny leads Linus down and around the elevator and side-\n by-side they crawl onto the bottom of the elevator,\n gripping the undercarriage of the lift to keep from", "Earlier that night, just after Rusty kicked Danny off\n the job. As Linus watches from inside, deaf to their\n conversation, blind to their expressions, Danny and\n Rusty confer.", "Coming to a rest about ten feet from the floor, Danny\n quickly pulls a slim blade and slashes the two coils\n straight across. He and Linus go tumbling to the floor" ], [ "BENEDICT\n Show me.\n\n Fat points to the security-cam view of the vault corridor\n and vault -- Livingston's tape.", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "270 INT. VAULT 270\n\n Benedict exhales.", "BENEDICT\n Someone built a double of my\n vault, then made a tape of them\n robbing it. When we saw them\n putting money in those bags, that\n wasn't actually happening.", "BENEDICT\n We had that installed on Tuesday.\n The image we saw of the men\n robbing us was a tape.\n\n WALSH (V.O.)\n What?", "BENEDICT\n (on phone)\n Alright. You've proved your\n point. You've broken into my\n vault. Congratulations: you're a\n dead man.", "An overhead view of Benedict as he pulls out the\n combination to the vault, reads it, then buries it in his\n jacket pocket.\n\n RUSTY\n Did you make it out?", "Benedict steps over the scattered remains of his vault.\n He picks up a fragment of a cash cart, burnt to a crisp,\n then lets it drop.", "282 INT. BELLAGIO VAULT 282\n\n Benedict squats down to inspect a burnt scrap of paper on\n the vault floor. It's a flier for a strip joint.", "BENEDICT\n Get everyone in position. I want\n my vault back before that van hits\n the tarmac.\n\n\n LONGER MONTAGE now, CUTTING BETWEEN:", "Linus punches in the code for the door to the vault\n anteroom (the one he stole from Benedict). He steps back\n as it slides open, revealing --", "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "BENEDICT\n What the hell is going on down\n there in the vault?\n\n FAT\n Nothing, sir. All normal.", "The security center, understandably, erupts in activity.\n\n BENEDICT\n Jesus Christ...", "Walsh mouths to Benedict: \"SWAT team is here.\" Benedict\n nods and throws him a thumbs-up.", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator", "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here.", "Benedict stops cold. He stares up at a wall where an\n engraved sign reading \"Bellagio\" has been smoke-stained.", "BENEDICT\n What the hell was that?\n\n (CONTINUED)" ], [ "LINUS\n (a pause; will he\n pass?)\n Not since he died last year.\n\n He passes. The Pit Boss returns with Frank in tow.", "279 LINUS 279\n\n feigns hysteria...\n\n LINUS\n Guys, someone's here!", "Linus stands dressed in a sharp, conservative suit -- a\n far cry from the threadbare thief in Chicago. Rusty\n circles him, inspecting.", "Benedict and Linus wait, side-by-side. While Linus does\n his best to play it cool, Benedict dips into his\n portfolio.", "They can be heard WRESTLING. Linus has had enough. He\n sneaks out the van's back door without the Malloys\n hearing him.", "DANNY (V.O.)\n Something like that.\n\n As Linus hauls in materials, Danny takes him aside.", "FRANK\n (as he's led away,\n over his shoulder,\n to Linus)\n Cracker.", "As Saul and his heart attack hold the spotlight, a\n security monitor flips from a shot of Linus entering the\n elevator to a Livingston-fed videotape of an empty lift.", "Linus does.\n\n RUSTY\n That how you gonna stand?\n\n Linus shifts his balance.", "Linus runs along the overhang, then leaps down, onto the\n reversing van, and rolls along its roof and down its\n windshield.\n\n (CONTINUED)", "LINUS\n Yeah.\n\n TISHKOFF\n From Chicago?\n\n LINUS\n Yeah.", "DANNY\n Who told you to do that?\n\n Before Linus can answer...", "The Stockbroker resumes his yacketing, oblivious, as\n Linus tucks his prize into his own jacket pocket, face", "LIVINGSTON (V.O.)\n No sweat, kid. You're a rock.\n (as Linus smiles,\n feeling good about\n himself)\n Now don't fuck up.", "... Linus is tailing him, ten steps back. He stops,\n glances back at the restaurant quizzically, then\n continues following Danny.", "Linus inches forward, almost dreading this moment,\n pauses...\n\n (CONTINUED)", "DANNY\n Hi, Linus. Sit down.\n\n LINUS\n Who are you?", "LINUS\n (a pause; he can't\n believe he just\n heard that)\n Pardon me.", "BENEDICT\n (shaking his hand,\n then hurrying away)\n Thank you.\n\n Linus smiles after him, withdrawing the page of\n combinations he lifted off the man.", "Then, one-by-one, the group splinters off, strolling into\n different hotels or grabbing cabs, until there are only\n two left: Rusty and Linus." ], [ "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "Danny removes the Strip from the model. Revealed beneath\n is a complex substructure, featuring three tunnels, each\n leading from a casino to a single freight-sized elevator\n shaft which descends into an enormous vault.", "The Bellagio vault has been fully reproduced here, and\n what we've been watching has been a trial run. Ten of", "A facsimile of the Bellagio vault sprouts into shape.\n Livingston fixes a security camera in a corner, then", "DANNY\n Gentlemen: the Bellagio vault.\n Located below the Strip, beneath", "DANNY (V.O.)\n Most of all, I want you guys to\n know these casinos. They were", "DANNY\n Casinos.\n\n FRANK\n (realizing)\n Oh, no...\n\n DANNY\n Oh, yes...", "DANNY\n -- and vocal confirmations from\n both the security center within\n the Bellagio and the vault below - -", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "DANNY\n No, but you're sweet to ask.\n\n\n209 INT. BELLAGIO VAULT 209", "DANNY (V.O.)\n Third task: surveillance. Casino\n security has an eye and ear on\n everything, so we'll want an eye\n and ear on them. Livingston...", "DANNY\n You said you needed a reason.\n Well, this is mine.\n (beat)", "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "The great metal gate opens once more, revealing Danny\n Ocean in its frame again, ready for release.", "Danny cranes his neck about the casino, looking for\n someone -- a friend, somebody who should be here -- but\n without success. He turns his attention back to his\n cards, and the cards of the dealer.", "The great metal door opens, and Danny stands within its\n frame, ready for release. (If it matters -- and if you\n notice -- he's wearing his wedding ring.)", "MOVING WITH Benedict as he spies out of the corner of his\n eye Danny, lurking at a slot machine. To one of his\n guards...", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator", "DANNY\n That's the best lift I've seen you\n make yet.\n\n LINUS\n Las Vegas, huh?" ], [ "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "It is Danny, smirk on his lips: He (and he alone) is\n aware of the ongoing heist.", "And the next door opens, and Danny, Basher, and Yen\n appear, pinch in hand -- they've succeeded. They weave a\n path to the van...", "214 INT. CORRIDOR/OUTSIDE VAULT 214\n\n Danny and Linus pry open the elevator doors and squeeze\n out. Just beyond the next doorway stand...", "another guard to the vault elevator. On another: Danny\n is escorted inside the cage by the Plainclothes Goons.", "DANNY\n A buck it is.\n\n And they're ready, poised at the top, looking into the\n abyss of an elevator shaft scattered with infrared\n sensors.", "Danny and Linus enter. Silence. The cash carts have\n crumpled, and the vault gratings, blackened, have held.\n\n DANNY\n Amazing?", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "DANNY\n Gentlemen: the Bellagio vault.\n Located below the Strip, beneath", "Danny takes a flat hand and slaps the door hard.\n\n\n217 INT. VAULT 217", "As Basher enters, Livingston and Frank watch on a monitor\n Linus punching in the combination he stole from Benedict\n as Danny unravels a thin electrical wire connected to a\n detonator.", "I-224 OUTSIDE VAULT I-224\n\n DANNY\n -- one --\n\n He presses his detonator.", "Suddenly the Security Guard's flashlight beam hits them\n square in the eyes. Danny and Rusty put their hands up\n to block the light.", "BARRROOOOM! No one is hurt. Nor is the money, stacked\n neatly in a corridor, ready to be packed into the phony\n SWAT team bags, body armor, etc.", "The great metal door opens, and Danny stands within its\n frame, ready for release. (If it matters -- and if you\n notice -- he's wearing his wedding ring.)", "New images suddenly appear. Three masked men in the\n vault throw stacks of money onto the floor; the three Uzi\n Guards lie bound and unconscious in the corridor.", "DANNY'S POV", "The sentry nods, swipes his keycard, and enters with the\n cash cart. Turk and Virgil hesitate a moment to watch it\n enter, then hurry off.", "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks." ], [ "in cash and coin. On a weekend,\n between eighty and ninety million.\n On a fight night, like the one two\n weeks from tonight, the night", "The Bellagio vault has been fully reproduced here, and\n what we've been watching has been a trial run. Ten of", "OCEAN'S 11 - Rev. 10/24/00 138.\n\n268 INT. BELLAGIO VAULT - NIGHT 268", "A facsimile of the Bellagio vault sprouts into shape.\n Livingston fixes a security camera in a corner, then", "DANNY\n Gentlemen: the Bellagio vault.\n Located below the Strip, beneath", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "RUSTY (V.O.)\n As your manager's probably\n reporting to you by now, you have\n a little over a hundred sixty\n million in your vault tonight.", "each of the three casinos above\n it. That means: during the week,\n by law, it must hold anywhere from\n sixty to seventy million dollars", "FROM ABOVE, DESCENDING STILL: This is the Real Deal.\n The Bellagio vault. A clock reads: 8:03.", "172 INT. BELLAGIO CASINO - BY CAGE DOOR - 14:05 172", "157 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 157", "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "115 INT. BELLAGIO VAULT - NIGHT 115", "OCEAN'S 11 - Rev. 10/24/00 140.\n\n272 INT. BELLAGIO VAULT - NIGHT 272", "The time is 7:16.\n\n\n155 INT. BELLAGIO CAGES - EMPTY COUNT ROOM 155", "282 INT. BELLAGIO VAULT 282\n\n Benedict squats down to inspect a burnt scrap of paper on\n the vault floor. It's a flier for a strip joint.", "And, as if Rusty was in the room watching, Walsh\n approaches with the night's cash count: $163,156,759.", "DANNY\n -- and vocal confirmations from\n both the security center within\n the Bellagio and the vault below - -", "68 INT. BELLAGIO CASINO - NIGHT 68", "OCEAN'S 11 - Rev. 10/24/00 127.\n\n233 INT. BELLAGIO CASINO - NIGHT 233" ], [ "DANNY'S POV", "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks.", "... a hand yanks it free from above. It's Danny.\n\n DANNY\n You didn't really think I was\n gonna sit this one out, did you?", "Overlooking the whole enterprise is Danny, grinning from\n ear to ear, happy in his work. He checks a stopwatch in\n his hand as...", "It is Danny, smirk on his lips: He (and he alone) is\n aware of the ongoing heist.", "Danny spins to look out the back of the van, Basher by\n his side. His eyes scan the compound, then:\n\n DANNY\n There he is.", "DANNY\n Everybody eaten? Good. Everybody\n sober? Close enough. Most of you\n know each other already. You", "The Goons shake their heads. Danny smiles at the\n Bruiser, and the Bruiser snarls back, showing off those", "Earlier that night, just after Rusty kicked Danny off\n the job. As Linus watches from inside, deaf to their\n conversation, blind to their expressions, Danny and\n Rusty confer.", "DANNY\n You get robbed or something,\n Benedict? Geez, that's a shame.\n\n Benedict looks up, suspicious.", "... Danny climbs onto Bruiser's shoulders and pushes\n through the ceiling rafters, groaning every time Bruiser\n slaps his fist into his hand.", "Danny stops, almost as if he's been waiting for this\n question, which of course he has.", "Reuben pivots; it's Danny, and he strolls past Reuben and\n his lady friends and into the restaurant...\n\n (CONTINUED)", "DANNY\n (nods)\n Bobby Caldwell threw me into the\n pool first time. Least I could do\n is give his kid a push.", "DANNY\n 29:47. Everything okay in there?\n\n Yen responds. Of course, Danny doesn't understand him.\n But Rusty does, appearing behind him.", "BASHER\n Not quite. Is Danny here?\n\n RUSTY\n Around the corner.", "DANNY\n Hi, Linus. Sit down.\n\n LINUS\n Who are you?", "They shakes hands. Rusty looks Danny over.\n\n RUSTY\n Your hair's grayer.\n\n (CONTINUED)", "42 CONTINUED: 42\n\n DANNY\n Who else?\n\n RUSTY\n Watch.", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door." ], [ "Danny puts down his coffee. And shakes his head. And\n lifts three fingers: three casinos. Rusty must put down\n his coffee, too.", "RUSTY\n The Bellagio, Mirage, and... These\n are Terry Benedict's places.\n\n DANNY\n Yes, they are. Think he'll mind?", "RUSTY\n Where do you want to go first?\n\n DANNY\n To a phone.\n\n Rusty had anticipated this.", "DANNY (V.O.)\n Most of all, I want you guys to\n know these casinos. They were", "DANNY\n Casinos.\n\n FRANK\n (realizing)\n Oh, no...\n\n DANNY\n Oh, yes...", "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "RUSTY\n What? You wanna knock over a\n casino?", "Outside a restaurant's entrance, Rusty and Linus sit\n before two slot machines, idly dropping in quarters as\n they watch Saul receive the royal treatment.", "RUSTY (V.O.)\n Of course, I'm in the casino. In\n fact, I'm staying in your hotel.", "RUSTY\n You said three casinos...", "DANNY\n Gentlemen: the Bellagio vault.\n Located below the Strip, beneath", "DANNY (V.O.)\n Third task: surveillance. Casino\n security has an eye and ear on\n everything, so we'll want an eye\n and ear on them. Livingston...", "RUSTY\n What's the target?\n\n DANNY\n Eight figures each.", "Danny looks to Rusty who, behind them, tampers with\n Livingston's audio-video setup: several portable\n monitors, a laptop and modem, telephone headset, etc.", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "DANNY\n This is my job.\n\n RUSTY\n Not anymore.", "Danny sets down his hand. Four nines. It's a winner.\n The others, jaws dropped, throw in their cards. For the\n first time tonight, Rusty blanches.", "RUSTY\n Alright. Tell me.\n\n DANNY\n It's tricky. No one's ever done\n it before. Needs planning, a\n large crew.", "RUSTY\n If they take more than twenty\n seconds to reach the casino floor\n or if there's any indication a" ], [ "He cranes his neck, looking around the room, surveying\n his empire: he smells a rat. His eyes fall on Reuben\n behind him, but Reuben just shrugs: \"I didn't pull the\n plug.\"", "Reuben pivots; it's Danny, and he strolls past Reuben and\n his lady friends and into the restaurant...\n\n (CONTINUED)", "Reuben leans into Livingston...\n\n REUBEN\n You understand any of this?\n\n LIVINGSTON\n I'll explain later.", "REUBEN TISHKOFF, the grimace of a man in mid-movement,\n forever cemented on his face, scrutinizes his two lunch\n guests (Danny and Rusty) at his poolside.", "DANNY\n (smiles, too)\n Aha.\n\n RUSTY\n Reuben.", "... Reuben gets brushed from behind by the two\n Plainclothes Goons following Danny.", "Reuben can't help but stare as Tess passes by. His eyes\n linger a little too long and a little too low...\n\n VOICE (O.S.)\n Hey...", "REUBEN\n Go shit in your mouth.", "Terry greets Reuben before the TV cameras and newspaper\n reporters, and everyone's smiling and shaking hands, but\n behind those smiles and under their breaths...\n\n BENEDICT\n Good to see you.", "and counting. A MAITRE D' scours his reservations list,\n then peers up to find Reuben Tishkoff approaching, on", "Lost in the luxury his role dictates, Saul floats in a\n full-sized Jacuzzi and chews on a hundred dollar cigar;\n Reuben, meanwhile, paces the floor, nervously.", "visible) woman on his arm. The second: scowling former\n owner, Reuben Tishkoff.", "The boxers enter the ring before a full, cheering house.\n\n Benedict and Tess find their ringside seats, a row in\n front of Reuben and his \"nieces.\"", "DANNY\n Reuben, you're right. Our eyes\n are bigger than our stomachs.\n\n RUSTY\n That's exactly it. Pure ego.", "RUSTY\n What are we doing, Reuben?\n\n (CONTINUED)", "The Plainclothes Goons escort Danny away, right past\n Reuben who frowns, concerned.", "RUSTY\n Hell, I think Reuben bought it,\n and he knew we were screwing\n around.\n (beat)\n You sure about this?", "REUBEN\n G'bye, honey...\n\n\n113 INT. BASHER TARR'S HOTEL ROOM - SAME TIME 113", "28 EXT. REUBEN TISHKOFF'S BACK YARD - DAY (PRESENT) 28", "30 EXT. REUBEN TISHKOFF'S BACK YARD - DAY (PRESENT) 30" ], [ "(off Danny's reaction)\n Tess. She's with Terry Benedict\n now. Tell me this isn't about", "The first: Tan, well-coiffed developer and new owner of\n the Paradiso, Terry Benedict, with a beautiful (if barely", "The doors open, and Terry Benedict steps out. Linus\n watches from a craps table.", "BENEDICT\n What are you doing?\n\n Terry Benedict is hovering over them, fresh from his\n meeting with Saul.", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator", "TERRY BENEDICT emerges from a Town Car and, from his\n haircut to his smile to his pant-cuffs, he is effortless", "TESS\n Mr. Benedict is never late.\n\n Just then the double doors to the gallery swing open, and\n Terry Benedict enters, right on time.", "From behind, Terry Benedict approaches, two security\n guards walking half a pace behind him. Saul spots him in\n the glass's reflection; he does not turn.\n\n SAUL\n Mr. Benedict.", "TISHKOFF\n You guys... Whadda you got against\n Terry Benedict?\n\n DANNY\n What do you have against him?\n That's the real question.", "Riding down, Terry Benedict checks his watch. The\n elevator doors open and...\n\n\n146 INT. BELLAGIO CASINO - ELEVATOR BAY 146", "This shuts the High Roller up fast. Saul looks up from\n the table, just perceptibly, to spot Terry Benedict, on\n his way in, right on schedule. He approaches the PIT\n BOSS by the entrance.", "RUSTY\n The Bellagio, Mirage, and... These\n are Terry Benedict's places.\n\n DANNY\n Yes, they are. Think he'll mind?", "TISHKOFF\n (nostrils flared,\n smelling a rat)\n Those are Terry Benedict's\n casinos.", "TISHKOFF\n You gonna steal from Terry\n Benedict, you better goddamn know.\n This sorta thing used to be", "A tournament-level pool table holds center stage here.\n Atop its green felt sits a raised, elaborate miniature of\n Terry Benedict's Las Vegas: three casinos and hotels\n with the Strip running between them.", "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "Just down the block from the Terry Benedict Trinity\n stands (for a few remaining moments) the edifice of the\n Paradiso, Reuben Tishkoff's bankrupted hotel-casino.", "BENEDICT\n Not mine. She belongs to everyone\n who comes into my hotel. Isn't\n that right, Ms. Ocean?\n\n (CONTINUED)", "Benedict enters, and fear enters with him. And, of\n course, Tess. As the room buzzes with activity, he keeps\n the cell phone pressed to his ear.", "From a balcony, Benedict stands overlooking the casino\n floor. His CASINO MANAGER approaches and they confer." ], [ "The Goons exit. Danny and the Bruiser face off. And as\n Danny opens his mouth to speak, Bruiser's fist flashes\n out and knocks him down. Danny rises, wiping a little\n blood from his lip.", "Bruiser throws a mean left hook across Danny's face as\n the door swings open and Benedict steps in. Bruiser sees\n him and steps away, toweling off his bloodied knuckles.", "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks.", "... Danny climbs onto Bruiser's shoulders and pushes\n through the ceiling rafters, groaning every time Bruiser\n slaps his fist into his hand.", "The Goons shake their heads. Danny smiles at the\n Bruiser, and the Bruiser snarls back, showing off those", "... a hand yanks it free from above. It's Danny.\n\n DANNY\n You didn't really think I was\n gonna sit this one out, did you?", "DANNY\n (nods)\n Bobby Caldwell threw me into the\n pool first time. Least I could do\n is give his kid a push.", "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here.", "DANNY\n Jesus, Bruiser, not 'til later.\n\n BRUISER\n Sorry, Danny. I -- I forgot.", "DANNY\n Be good.\n\n Danny leaves her. Tess watches him go.", "Danny spins to look out the back of the van, Basher by\n his side. His eyes scan the compound, then:\n\n DANNY\n There he is.", "... the BRUISER, come to beat the shit out of Danny\n Ocean. The guy's at least six-six, three hundred pounds,\n but it's not his size that draws attention, it's his\n teeth...", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "DANNY'S POV", "\"emeralds\"). He hears the muffled Danny's slaps and he\n knows: it's time for his leap. It's the same distance", "Danny stares daggers at Rusty. But he can see: everyone\n in the room is on Rusty's side. Defeated, he stalks out", "Saul turns away, and when he faces Danny again, his\n entire aspect has changed: His features stone, his eyes\n icicles.", "LINUS\n The fight...?\n (as Danny nods)\n Lewis.", "DANNY\n (as he hardly\n understands\n this either)\n Basher. What happened?", "BASHER\n Not quite. Is Danny here?\n\n RUSTY\n Around the corner." ], [ "The Malloys, who've shadowed the guard here, note a\n sentry standing watch by the door as well as a security\n camera embedded in the ceiling above: No one walks\n through that portal unchecked.", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator", "New images suddenly appear. Three masked men in the\n vault throw stacks of money onto the floor; the three Uzi\n Guards lie bound and unconscious in the corridor.", "Turk Malloy gets out the passenger's side, a briefcase\n handcuffed to his wrist, as Virgil comes around from the\n driver's side, both of them dressed in their bodyguard\n suits.", "A small cadre of guards await the arrival of the vault\n elevator. Its doors open to reveal the six large canvas\n bags, each sealed tight, marked with an X.", "The sentry nods, swipes his keycard, and enters with the\n cash cart. Turk and Virgil hesitate a moment to watch it\n enter, then hurry off.", "RUSTY (V.O.)\n I talked to the Malloys yesterday.\n\n DANNY (V.O.)\n The Mormon twins?", "Rusty, playing doctor, inspects Saul. At the same time,\n he inspects a monitor: the vault door closing with the\n Yen-filled cash cart and Saul's briefcase inside.", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty. And of the vault\n itself: Yen trying to get out of the cash cart.\n\n\n ON MONITOR B", "another guard to the vault elevator. On another: Danny\n is escorted inside the cage by the Plainclothes Goons.", "as it approaches McCarren Airport.\n\n\n257 MONITORS OF THE VAULT 257\n\n The three masked men pace beside the booby-trapped money.", "BARRROOOOM! No one is hurt. Nor is the money, stacked\n neatly in a corridor, ready to be packed into the phony\n SWAT team bags, body armor, etc.", "Linus punches in the code for the door to the vault\n anteroom (the one he stole from Benedict). He steps back\n as it slides open, revealing --", "A facsimile of the Bellagio vault sprouts into shape.\n Livingston fixes a security camera in a corner, then", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "They can be heard WRESTLING. Linus has had enough. He\n sneaks out the van's back door without the Malloys\n hearing him.", "Good. Here's what you do. Five\n minutes from now, the men in the\n vault are going to deposit six\n bags in the vault elevator.", "RUSTY (V.O.)\n If they meet anyone, we'll blow\n the money in the bags and the\n money in the vault.", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "settles, three men move quickly past Basher and into\n (what the settling fog now reveals to be) a dynamited\n bank vault. ALARMS begin to sound: this is bad news." ], [ "PIT BOSS\n Businessman of some kind, working\n mostly in Europe. He's very\n vague, but I asked around. Word\n is he deals primarily in arms.\n One of the biggest.", "Linus stands dressed in a sharp, conservative suit -- a\n far cry from the threadbare thief in Chicago. Rusty\n circles him, inspecting.", "Saul, as Lyman Zerga, makes as low-profile an entrance\n into the Bellagio as he can with bodyguards preceding and\n trailing him. He approaches a V.I.P CONCIERGE...", "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "Lost in the luxury his role dictates, Saul floats in a\n full-sized Jacuzzi and chews on a hundred dollar cigar;\n Reuben, meanwhile, paces the floor, nervously.", "Livingston raises a hand, and as Turk serves him his\n plate, Virgil whips off the cart's tablecloth:\n underneath it's the false-lid cash cart. Rusty turns to\n a corner.", "New images suddenly appear. Three masked men in the\n vault throw stacks of money onto the floor; the three Uzi\n Guards lie bound and unconscious in the corridor.", "SAUL\n This is nice material.\n\n DANNY\n It's Armani, Saul.", "At last Saul turns to face this man, with shark's eyes.\n\n SAUL\n Friedrich, Gunther.", "The guards carry out the money and load it into the van's\n rear. There, they find a video camera mounted within the\n back seat of the van monitoring them. Still they cannot\n catch a glimpse of the driver. They close the van doors.", "Benedict works the room. He speaks to a Japanese High\n Roller in Japanese, to a Swiss in German, etc.", "Saul's dressed completely (and immaculately) now in\n Armani, with his hair slicked back, a brief moustache on", "... its doors open, revealing Turk and Virgil, dressed\n now as security guards, pushing out the false-lid cash\n cart. They leave behind a pile of dishes, waiter\n uniforms, a tablecloth.", "Rusty appears in the f.g. behind a pillar, as dapper as\n Saul is down-at-heel, watching him go. When Saul\n disappears into the tunnel, he moves.", "BARRROOOOM! No one is hurt. Nor is the money, stacked\n neatly in a corridor, ready to be packed into the phony\n SWAT team bags, body armor, etc.", "TERRY BENEDICT emerges from a Town Car and, from his\n haircut to his smile to his pant-cuffs, he is effortless", "... and while the Technician grins not-very-soberly and\n ogles her perfect breasts and paws at her midriff, the\n Dancer secretly removes the keycard from his belt.", "The first: Tan, well-coiffed developer and new owner of\n the Paradiso, Terry Benedict, with a beautiful (if barely", "It is Danny, smirk on his lips: He (and he alone) is\n aware of the ongoing heist.", "Inside, Frank negotiates with BILLY TIM, a Cal-\n Worthingtonesque redneck car dealer, who half-pays\n attention to him, half-frets over the Malloys outside." ], [ "unleashes an electromagnetic pulse\n which shuts down any power source\n within its vicinity. That tends\n not to matter in most cases", "SWAT LEADER (V.O.)\n (over radio, on\n monitor)\n Night goggles on. Prepare to cut\n power.\n\n Fat mans the power switch.", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "The security center, understandably, erupts in activity.\n\n BENEDICT\n Jesus Christ...", "As Basher enters, Livingston and Frank watch on a monitor\n Linus punching in the combination he stole from Benedict\n as Danny unravels a thin electrical wire connected to a\n detonator.", "He affixes a detonator receiver (the size of a golf ball\n pencil) to it, then slaps the door twice: all set.", "A brief SPURT of GUNFIRE, then... BARRROOOOOOM!\n\n Dead silence in the Eye in the Sky. Slim stares deep\n into a monitor's dark pitch. Then...", "RUSTY (V.O.)\n Once the electricity goes, all\n entry points to the vault and its\n elevator will automatically lock\n down for two minutes. That's when\n we make our move...", "An EMPLOYEE from the charter airline sticks his head out\n of his office door.\n\n EMPLOYEE\n (innocently)\n Hey, what's going on here?", "The lights suddenly flash back on, revealing...", "The SWAT team exits and boards the second vehicle Turk\n and Virgil have been working on all this time, the one in\n the warehouse with an air freshener hanging from its", "The van suddenly lurches.\n\n\n266 SHORT DISTANCE AWAY - CLOSE ON REMOTE CONTROL 266", "TURK (V.O.)\n They're in position.\n\n LIVINGSTON (V.O.)\n (over STATIC)\n Okay. We're a go.", "SWAT FREQUENCY (V.O.)\n (Leader's voice)\n Lights! We need power now!\n\n Fat flips the power back on, and on the monitors...", "Livingston has moved A/V operations into Lyman Zerga's\n suite. As he scours the same images the watchers\n downstairs do, he eavesdrops on their communications\n through his headset.", "A beat.\n\n Then, he starts to creep back, leaping onto a money\n shelf, then another, as far from the explosives as he\n can get.", "Basher flips the switch. BOOM! A quick TREMOR, then\n stillness. He picks a point on the horizon, like Babe\n Ruth, and suddenly...", "As Danny checks his batteries (the types with built-in\n power meters: both at zero percent), Linus ransacks the\n Uzi-carrying Guards' gear for replacements. He finds\n AA's in their flashlights.", "He takes the batteries, inserts them in his detonator,\n then slaps the door twice more.\n\n\nA226 INT. VAULT A226", "RUSTY (V.O.)\n Your guards will load the bags\n into the van's rear. If anyone so\n much as approaches the driver's\n door, we blow everything." ], [ "FAT and SLIM) oversee a different section of the casino:\n the cage, its tunnels, the elevator, and the vault it\n leads to; everything, in fact, which our team saw in the", "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "carried through the Bellagio casino, held by the SWAT\n Leader leading his men out (now eight in all), and at\n last we PULL UP to see his face for the first time...", "BARRROOOOM! No one is hurt. Nor is the money, stacked\n neatly in a corridor, ready to be packed into the phony\n SWAT team bags, body armor, etc.", "Now the other players realize. These guys have a\n relationship. In fact, a criminal one. And, judging\n from their steely glares across the table, not a happy\n one.", "The white van departs the valet station in front,\n clandestinely shadowed by five sedans. Meanwhile, behind\n the casino, a SWAT van arrives and unloads its squad.", "New images suddenly appear. Three masked men in the\n vault throw stacks of money onto the floor; the three Uzi\n Guards lie bound and unconscious in the corridor.", "Turk hits the gas and the VEHICLE PEELS away, carrying its\n cadre of new multi-millionaires far away from the\n Bellagio Hotel and Casino.", "The six guards appear from the cage door, carrying six\n canvas bags marked with X's; Bellagio security escorts\n them from the building.", "From a balcony, Benedict stands overlooking the casino\n floor. His CASINO MANAGER approaches and they confer.", "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "BENEDICT\n Do you believe I'll simply allow\n you to parade bags full of my\n money out my casino doors?", "FROM ABOVE, SLOWLY DESCENDING: Ten of our eleven (Basher\n is missing) surround the model of the three casinos.\n Rusty leads everyone in a run-down of the heist...", "The doors open, and Terry Benedict steps out. Linus\n watches from a craps table.", "TISHKOFF\n And the closest any man has gotten\n to robbing a Las Vegas casino...", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "The guards carry out the money and load it into the van's\n rear. There, they find a video camera mounted within the\n back seat of the van monitoring them. Still they cannot\n catch a glimpse of the driver. They close the van doors.", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty. And of the vault\n itself: Yen trying to get out of the cash cart.\n\n\n ON MONITOR B" ], [ "FRANK\n I beg your pardon, sir. You must\n have me confused with someone\n else. My name is Ramon. See?", "He taps the name embroidered on his vest, although he is\n the most African-looking Ramon you've ever seen. A pit\n boss circles close by and glares at them both.", "BENEDICT\n If he is who you say he is.\n (hailing a PIT BOSS)\n Charlie. Call over Ramon\n Escalante.\n (CONTINUED)", "BENEDICT\n Mr. Escalante. Would you come\n with us, please?\n\n FRANK\n What's this about?", "LINUS\n Thank you for your cooperation,\n Mr. Escalante.\n (as Frank nods,\n not at all)\n Or should I call you Mr. Catton?", "DANNY\n Ramon?\n\n FRANK\n Glad to meet you. Frank Catton\n wouldn't get by the gaming board.\n (beat)\n You just out?", "At last Saul turns to face this man, with shark's eyes.\n\n SAUL\n Friedrich, Gunther.", "Livingston exits. Everyone else in the room staggers\n about, like witnesses after an execution. Rusty steps\n out onto the balcony, perhaps to console Danny, but (as", "carried through the Bellagio casino, held by the SWAT\n Leader leading his men out (now eight in all), and at\n last we PULL UP to see his face for the first time...", "OVER SWAT LEADER'S SHOULDER\n\n as he approaches Benedict.\n\n SWAT LEADER\n Mr. Benedict...", "Quiet, elegant, tense. One table is operating only, in\n the corner, and at it Saul, as Lyman Zerga, furtively\n peels at the roll of Rolaids and slips one in his mouth.", "Livingston continues on, and maybe for a second he thinks\n he's in the clear, especially when he sees the exit\n looming ahead, but then Fat turns behind him and hails\n him back...", "Saul's not fooling anyone: he's scared, right down to\n his Florsheims. Danny nods to the tailor: \"Give us a\n moment.\"", "SAUL\n My name is Lyman Zerga... My name\n is Lyman Zerga...\n\n Danny passes him an envelope full of $100 bills.", "And he follows, along with Frank and Livingston. Then\n Virgil, Turk and Yen. Then Saul. That leaves Linus,", "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "Danny spins to look out the back of the van, Basher by\n his side. His eyes scan the compound, then:\n\n DANNY\n There he is.", "Saul does his best to ignore the man. But even Benedict\n notices: this guy seems to know Lyman Zerga.", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "The white VAN SCREECHES to a halt inches from Basher who\n stands ready beside the pinch (and the now-gutted and" ], [ "As the Goons scoop him up and drag him out, Danny catches\n Bruiser's eye for just a moment. And barely winks.", "DANNY'S POV", "DANNY\n As you say, ma'am, I was never\n charged.\n\n\n2 INT. PAROLE BOARD HEARING ROOM - WIDER VIEW - MORNING 2", "The great metal door opens, and Danny stands within its\n frame, ready for release. (If it matters -- and if you\n notice -- he's wearing his wedding ring.)", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "Earlier that night, just after Rusty kicked Danny off\n the job. As Linus watches from inside, deaf to their\n conversation, blind to their expressions, Danny and\n Rusty confer.", "DANNY\n This is my job.\n\n RUSTY\n Not anymore.", "DANNY\n Be good.\n\n Danny leaves her. Tess watches him go.", "... a hand yanks it free from above. It's Danny.\n\n DANNY\n You didn't really think I was\n gonna sit this one out, did you?", "Livingston exits. Everyone else in the room staggers\n about, like witnesses after an execution. Rusty steps\n out onto the balcony, perhaps to console Danny, but (as", "Bruiser throws a mean left hook across Danny's face as\n the door swings open and Benedict steps in. Bruiser sees\n him and steps away, toweling off his bloodied knuckles.", "Danny goes. When he's out the door...\n\n TESS\n I'm sorry --", "DANNY\n 29:47. Everything okay in there?\n\n Yen responds. Of course, Danny doesn't understand him.\n But Rusty does, appearing behind him.", "Frank signals a passing waitress; she ignores him.\n\n DANNY\n (directly, this is\n why he's here)\n You seen him?", "DANNY\n Alright, back it up, back it up!\n\n Virgil leaps into the driver's seat, shifts into reverse.", "into a three-by-four foot space. He whips an air hose\n from his mouth and inhales deeply. Danny checks his\n watch.", "Danny rises and paces, frustrated. He's come too far for\n things to go awry now.\n\n (CONTINUED)", "Danny checks his watch -- 12:58 -- then the lounge around\n him: prison had more nightlife. He nurses a bourbon,\n folds back the New York Times and scans.", "Danny stops, almost as if he's been waiting for this\n question, which of course he has.", "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here." ], [ "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "Danny puts down his coffee. And shakes his head. And\n lifts three fingers: three casinos. Rusty must put down\n his coffee, too.", "DANNY (V.O.)\n Most of all, I want you guys to\n know these casinos. They were", "DANNY\n The Bellagio, Mirage, and the\n M.G.M. Grand.", "DANNY\n Casinos.\n\n FRANK\n (realizing)\n Oh, no...\n\n DANNY\n Oh, yes...", "DANNY (V.O.)\n Third task: surveillance. Casino\n security has an eye and ear on\n everything, so we'll want an eye\n and ear on them. Livingston...", "Danny removes the Strip from the model. Revealed beneath\n is a complex substructure, featuring three tunnels, each\n leading from a casino to a single freight-sized elevator\n shaft which descends into an enormous vault.", "RUSTY\n The Bellagio, Mirage, and... These\n are Terry Benedict's places.\n\n DANNY\n Yes, they are. Think he'll mind?", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "DANNY\n Gentlemen: the Bellagio vault.\n Located below the Strip, beneath", "Danny cranes his neck about the casino, looking for\n someone -- a friend, somebody who should be here -- but\n without success. He turns his attention back to his\n cards, and the cards of the dealer.", "DANNY\n Courtesy of Frank Catton, new\n blackjack dealer at the Bellagio,\n security tapes from the three\n casinos.", "DANNY (V.O.)\n We need to build an exact, working\n replica of the Bellagio vault.\n\n RUSTY (V.O.)\n For practice.", "each of the three casinos above\n it. That means: during the week,\n by law, it must hold anywhere from\n sixty to seventy million dollars", "On the monitors: three montages of black-and-white\n security tapes, starting within the three casinos' cages,", "DANNY (V.O.)\n Frank C. is in.\n\n\n31 INT. CASINO OFFICE (ATLANTIC CITY) 31", "Danny sets down his hand. Four nines. It's a winner.\n The others, jaws dropped, throw in their cards. For the\n first time tonight, Rusty blanches.", "MOVING WITH Benedict as he spies out of the corner of his\n eye Danny, lurking at a slot machine. To one of his\n guards...", "Danny watches Benedict escort Linus toward the blackjack\n tables, unaware that TWO PLAINCLOTHES SECURITY GOONS", "DANNY\n Gentlemen: the 14000 block of Las\n Vegas Boulevard. Otherwise known" ], [ "in cash and coin. On a weekend,\n between eighty and ninety million.\n On a fight night, like the one two\n weeks from tonight, the night", "Danny sets down his hand. Four nines. It's a winner.\n The others, jaws dropped, throw in their cards. For the\n first time tonight, Rusty blanches.", "DANNY\n Casinos.\n\n FRANK\n (realizing)\n Oh, no...\n\n DANNY\n Oh, yes...", "DANNY\n As long as we're hitting these\n three casinos, we'll get our\n bankroll. Terry Benedict has a\n list of enemies.", "Danny withdraws his money clip, peels off a couple\n hundreds, and buries them in the Security Guard's hand.\n\n DANNY\n 'Preciate it.", "Danny cranes his neck about the casino, looking for\n someone -- a friend, somebody who should be here -- but\n without success. He turns his attention back to his\n cards, and the cards of the dealer.", "Danny puts down his coffee. And shakes his head. And\n lifts three fingers: three casinos. Rusty must put down\n his coffee, too.", "each of the three casinos above\n it. That means: during the week,\n by law, it must hold anywhere from\n sixty to seventy million dollars", "DANNY\n There's a little over twenty grand\n there, Saul. Try to make it last.\n\n Saul pats down his pockets for something he can't find...", "125.\n\n228 INT. CASINO - OUTSIDE FIGHT ARENA 228", "Danny stops, almost as if he's been waiting for this\n question, which of course he has.", "DANNY (V.O.)\n Third task: surveillance. Casino\n security has an eye and ear on\n everything, so we'll want an eye\n and ear on them. Livingston...", "DANNY\n There's a Chinese man with a\n hundred sixty million dollars\n behind that door. Let's get him\n out.", "Nine-ten. Stay. Dealer -- seventeen. Danny wins.\n King-four. Dealer shows a six. Stick. Dealer busts.\n Queen-ace. Twenty-one. Danny wins again.", "RUSTY\n What's the target?\n\n DANNY\n Eight figures each.", "Danny pulls out a wad of bills from his jacket, peels off\n half, and hands it to Rusty.\n\n DANNY\n Ten grand. Half of it's yours.", "Danny smiles, icily -- of course, it's not -- then pulls\n out his wallet.\n\n DANNY\n I raise you five hundred dollars.", "MOVING WITH Benedict as he spies out of the corner of his\n eye Danny, lurking at a slot machine. To one of his\n guards...", "DANNY (V.O.)\n Second task: power. On the night\n of the fight, we're gonna throw\n the switch on sin city. Basher,\n it's your show.", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio." ], [ "BENEDICT\n Tess...\n (as she doesn't\n stop)\n Tess?", "Tess, readying herself for the big evening, meets her own\n glance in a dressing mirror, then spots Benedict in its\n reflection, pacing the bedroom behind her.", "LINUS\n What?\n\n RUSTY\n (looks very certain\n about this, very\n certain and very\n upset)\n Her name is Tess.", "This surprises Tess, and, truth be told, saddens her; she\n studies him a moment, unsure of what to say.\n\n TESS\n Oh... then... good-bye.", "LINUS\n I don't know if we can use her\n yet. I haven't even caught her\n name.\n\n RUSTY\n Tess.", "He spins and -- gasp -- comes face-to-face with Tess.\n She stares at him directly: she knows.", "And Tess remains, thinking: he's rich, he's handsome and\n wooing, but is she happy?", "DANNY\n (standing over her,\n grinning)\n Hello, Tess.", "... it's Tess, rounding a corner toward the restaurant.\n Danny jumps to his feet, throws a tip on the bar, and\n goes.", "TISHKOFF\n Who's Tess?\n\n DANNY\n My wife.\n\n RUSTY\n Ex-wife.", "TESS\n Spoken like a true ex-husband.\n\n DANNY\n I'm not joking, Tess.", "last I've made her a home.\n (to Tess)\n All the arrangements and so\n forth...", "Tess, her eyes roaming the crowd, finds a pair staring\n back at her: Danny's. She holds his glance a moment --\n long enough for both Linus and Benedict to notice --\n before turning away, to...", "Hanging up, Benedict approaches her, puts his hands on\n her shoulders...\n\n BENEDICT\n What are you thinking about?\n\n TESS\n You.", "TESS\n That's what I said.\n\n DANNY\n Liar.\n\n TESS\n Thief.", "DANNY\n And I still get Monet and Manet\n confused. Which one married his\n mistress?\n\n TESS\n Monet.", "DANNY\n Be good.\n\n Danny leaves her. Tess watches him go.", "SAUL\n (appearing in a\n bathrobe)\n Tess is here?", "Benedict enters, and fear enters with him. And, of\n course, Tess. As the room buzzes with activity, he keeps\n the cell phone pressed to his ear.", "TESS\n Hello?\n\n RUSTY (V.O.)\n May I have a word with Mr.\n Benedict, please?\n\n Tess looks up, confused." ], [ "Linus punches in the code for the door to the vault\n anteroom (the one he stole from Benedict). He steps back\n as it slides open, revealing --", "requires a different six-digit\n code changed every twelve hours.\n Past those lies the elevator, and\n this is where it gets tricky: the", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator", "At last, Danny finds the right set of blueprints and\n drapes it across the desk; we, however, never see it.\n\n DANNY\n The vault at the Bellagio.", "A small cadre of guards await the arrival of the vault\n elevator. Its doors open to reveal the six large canvas\n bags, each sealed tight, marked with an X.", "RUSTY (V.O.)\n Once the electricity goes, all\n entry points to the vault and its\n elevator will automatically lock\n down for two minutes. That's when\n we make our move...", "An overhead view of Benedict as he pulls out the\n combination to the vault, reads it, then buries it in his\n jacket pocket.\n\n RUSTY\n Did you make it out?", "New images suddenly appear. Three masked men in the\n vault throw stacks of money onto the floor; the three Uzi\n Guards lie bound and unconscious in the corridor.", "A facsimile of the Bellagio vault sprouts into shape.\n Livingston fixes a security camera in a corner, then", "Rusty, playing doctor, inspects Saul. At the same time,\n he inspects a monitor: the vault door closing with the\n Yen-filled cash cart and Saul's briefcase inside.", "-- the vault door: it is sleek and immense and\n impregnable.\n\n LINUS\n (jaw dropping)\n Jesus...", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty. And of the vault\n itself: Yen trying to get out of the cash cart.\n\n\n ON MONITOR B", "The sentry nods, swipes his keycard, and enters with the\n cash cart. Turk and Virgil hesitate a moment to watch it\n enter, then hurry off.", "Danny responds with two slaps of his own. He steps\n back, detonator in hand, its wires attached to the vault\n door.", "Good. Here's what you do. Five\n minutes from now, the men in the\n vault are going to deposit six\n bags in the vault elevator.", "Danny takes a flat hand and slaps the door hard.\n\n\n217 INT. VAULT 217", "as it approaches McCarren Airport.\n\n\n257 MONITORS OF THE VAULT 257\n\n The three masked men pace beside the booby-trapped money.", "BENEDICT\n Show me.\n\n Fat points to the security-cam view of the vault corridor\n and vault -- Livingston's tape.", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty... and in totally\n different positions. Of the vault: no cash cart, but no\n Zerga briefcase, no Yen." ], [ "As Saul and his heart attack hold the spotlight, a\n security monitor flips from a shot of Linus entering the\n elevator to a Livingston-fed videotape of an empty lift.", "Rusty, playing doctor, inspects Saul. At the same time,\n he inspects a monitor: the vault door closing with the\n Yen-filled cash cart and Saul's briefcase inside.", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "On the monitor, the vault door closes, but Saul looks\n anything but satisfied. He's sweaty, his mouth's so dry", "Saul's briefcase inches closer to falling off the cash cart,\n which of course would trigger the floor sensor and terminate", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty. And of the vault\n itself: Yen trying to get out of the cash cart.\n\n\n ON MONITOR B", "The room is empty save for a large table. Saul places\n his briefcase on it, adjusts its numbered combination\n locks, and opens it.\n\n Inside the case: five rows of glittering emeralds.", "Saul, as Lyman Zerga, makes as low-profile an entrance\n into the Bellagio as he can with bodyguards preceding and\n trailing him. He approaches a V.I.P CONCIERGE...", "181 INT. BELLAGIO SECURITY CENTER - 04:30 181\n\n Saul witnesses this, too, and stifles a reaction.", "The sentry nods, swipes his keycard, and enters with the\n cash cart. Turk and Virgil hesitate a moment to watch it\n enter, then hurry off.", "Overhead security-cam view of the vault corridor: the\n three Uzi guards stand idly, on duty... and in totally\n different positions. Of the vault: no cash cart, but no\n Zerga briefcase, no Yen.", "as it approaches McCarren Airport.\n\n\n257 MONITORS OF THE VAULT 257\n\n The three masked men pace beside the booby-trapped money.", "A facsimile of the Bellagio vault sprouts into shape.\n Livingston fixes a security camera in a corner, then", "RUSTY (V.O.)\n Once the electricity goes, all\n entry points to the vault and its\n elevator will automatically lock\n down for two minutes. That's when\n we make our move...", "On a monitor: The sentry pushes the cart down a cage\n corridor. On another: Saul's briefcase is escorted by", "From behind, Terry Benedict approaches, two security\n guards walking half a pace behind him. Saul spots him in\n the glass's reflection; he does not turn.\n\n SAUL\n Mr. Benedict.", "Good. Here's what you do. Five\n minutes from now, the men in the\n vault are going to deposit six\n bags in the vault elevator.", "ON MONITORS\n\n The yen-filled cash cart joins Saul's briefcase on the\n elevator. PULL OUT to...", "The guards carry out the money and load it into the van's\n rear. There, they find a video camera mounted within the\n back seat of the van monitoring them. Still they cannot\n catch a glimpse of the driver. They close the van doors.", "The vault elevator doors open and Terry Benedict makes\n his way into his smoke-filled vault corridor. He passes\n the Uzi Guards, awake now and stumbling to the elevator" ], [ "Basher flips the switch. BOOM! A quick TREMOR, then\n stillness. He picks a point on the horizon, like Babe\n Ruth, and suddenly...", "As Basher enters, Livingston and Frank watch on a monitor\n Linus punching in the combination he stole from Benedict\n as Danny unravels a thin electrical wire connected to a\n detonator.", "All the lights are back on, and Basher observes his\n achievement with great pride, his job complete.\n\n BASHER\n Viva Las Vegas.", "DANNY (V.O.)\n Second task: power. On the night\n of the fight, we're gonna throw\n the switch on sin city. Basher,\n it's your show.", "Basher drops into the hole, pulling the cover over him,\n as we PULL UP OVER the Bellagio and...\n\n DISSOLVE TO:", "BASHER\n Then give me thirteen seconds.\n\n And Basher leaps down to hook up the pinch's wires to his\n van's engine.", "BASHER\n I'm there.\n\n And he SCREECHES to a halt on the parking structure's\n top level. Vegas can be seen in every direction.", "He splices into all sorts of wires and lines and cables.\n Meanwhile...\n\n\n75 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 75", "The Cop looks bewildered. Rusty steps forward, yanks\n Basher onto his feet, spins him around. He moves his\n hands up and down Basher's legs, around his waist, under\n his arms.", "The white VAN SCREECHES to a halt inches from Basher who\n stands ready beside the pinch (and the now-gutted and", "settles, three men move quickly past Basher and into\n (what the settling fog now reveals to be) a dynamited\n bank vault. ALARMS begin to sound: this is bad news.", "BASHER\n ... ten...\n\n In the distance, lights come up again, first at the\n Mirage, then the MGM, gradually approaching...", "Frank pays up. Behind him, a DOOR SLAMS, and he turns to\n see Basher, at last. Sniffing the air, he double-takes\n -- Basher's covered head-to-toe in sewage.", "Both fighters move in simultaneously, sweat flying, both\n reach back, both going for the lights-out power cut to\n the jaw, when... lights out.\n\n BASHER (V.O.)\n ... four, five...", "With two dozen other tourists, Basher crosses the street\n and when he meets a manhole cover he stops and,\n extracting a small metal hook from his jacket, removes it", "175 EXT. BELLAGIO PARKING LOT - MOVING WITH BASHER - NIGHT 175", "... the floor is going nuts. After the ten seconds of\n darkness, all bets are off. Some players doubled-down\n during the blackout, others miraculously halved their", "The men exit through the front doors, their hands over\n their heads, Basher trailing them. Policemen and SWAT\n members encircle the group, weapons trained on them,\n chock full of instructions.", "At the wet bar, Basher mixes a drink for Livingston; on a\n couch, Yen balances coffee-table ornaments into a", "The Cop turns; standing behind him, stone-faced, is\n Rusty, in a dark suit and shades.\n\n RUSTY\n Isn't that right, Basher?" ], [ "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "As they drive away...\n\n ... another car STARTS its ENGINE begins to follow. At\n the wheel: Benedict's goons.", "BENEDICT\n What?!\n\n WALSH (V.O.)\n They say the bags were filled with\n fliers. For hookers.", "BENEDICT\n We had that installed on Tuesday.\n The image we saw of the men\n robbing us was a tape.\n\n WALSH (V.O.)\n What?", "BENEDICT\n What, Walsh?\n\n WALSH (V.O.)\n They say it doesn't look like\n there was any money in the bags,\n sir.", "They keep moving, but the RING pursues them. Finally,\n Benedict stops, pulls Tess's purse from her shoulder and\n opens it: inside, he finds a CELL PHONE, RINGING.", "Rusty and Linus watch the entrance: No one enters.\n\n LINUS\n Give him another ten seconds.\n\n Around the corner comes Benedict, carrying his black\n portfolio.", "As Basher enters, Livingston and Frank watch on a monitor\n Linus punching in the combination he stole from Benedict\n as Danny unravels a thin electrical wire connected to a\n detonator.", "RUSTY (V.O.)\n Your guards will load the bags\n into the van's rear. If anyone so\n much as approaches the driver's\n door, we blow everything.", "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here.", "Walsh mouths to Benedict: \"SWAT team is here.\" Benedict\n nods and throws him a thumbs-up.", "WALSH (V.O.)\n They took the van.\n\n BENEDICT\n And?", "BENEDICT\n Someone built a double of my\n vault, then made a tape of them\n robbing it. When we saw them\n putting money in those bags, that\n wasn't actually happening.", "Benedict steps over the scattered remains of his vault.\n He picks up a fragment of a cash cart, burnt to a crisp,\n then lets it drop.", "Benedict enters, and fear enters with him. And, of\n course, Tess. As the room buzzes with activity, he keeps\n the cell phone pressed to his ear.", "The guards carry out the money and load it into the van's\n rear. There, they find a video camera mounted within the\n back seat of the van monitoring them. Still they cannot\n catch a glimpse of the driver. They close the van doors.", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "A white, unmarked van pulls in from the street and races\n up to the curb where Saul and Benedict wait.", "BENEDICT\n Stop there.\n\n The Goons stop, spin Danny around to face Benedict.", "BENEDICT\n Do it.\n\n SWAT LEADER (V.O.)\n (over radio)\n Cut it." ], [ "Benedict scrutinizes Danny: Is he bluffing? He looks at\n Bruiser, then Danny again, and decides: no.\n\n BENEDICT\n Get him out of here.", "DANNY\n You get robbed or something,\n Benedict? Geez, that's a shame.\n\n Benedict looks up, suspicious.", "DANNY\n How much longer do you think Mr.\n Benedict will be?\n\n GOON #1\n Just a few minutes more.", "BENEDICT\n Stop there.\n\n The Goons stop, spin Danny around to face Benedict.", "DANNY\n Well, that's very interesting...\n (beat)\n ... but I didn't have anything to\n do with it.\n\n He grins. Benedict sinks.", "Bruiser throws a mean left hook across Danny's face as\n the door swings open and Benedict steps in. Bruiser sees\n him and steps away, toweling off his bloodied knuckles.", "MOVING WITH Benedict as he spies out of the corner of his\n eye Danny, lurking at a slot machine. To one of his\n guards...", "DANNY\n (a little punchy)\n Heya, Benedict... How's the other\n fight going?\n\n Benedict keeps his cool.", "Benedict studies Danny: the man is a bloody mess, head\n rolling, eyes puffed up.\n\n BENEDICT\n Wake him up.", "too heavy to this Benedict. A\n friend of mine once borrowed a\n hundred g's from the guy. Two\n months went by, Benedict hadn't", "BENEDICT\n Where. Is. My. Money.\n\n They hold each other's eye.", "BENEDICT\n How's he doing?\n\n PIT BOSS\n Up. Almost forty grand.", "BENEDICT\n (close to apoplectic,\n takes a breath and\n cups the phone, then\n barks at Walsh)\n Find out how much money we have\n down there.", "BENEDICT\n Did you have a hand in this?\n (beat)\n Did you?\n\n DANNY\n Did I have a hand in what?", "BENEDICT\n Well, then I don't imagine we'll\n be seeing you again, Mr. Ocean.\n\n DANNY\n You never know.", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "Benedict is absolutely fucking furious.\n\n WALSH (V.O.)\n ... what happened to all the\n money?", "Benedict does. As the three masked men stuff money into\n large canvas bags and mark the bags with X's, another\n portion of cash remains untouched, booby-trapped.", "DANNY\n (simultaneously)\n -- I can't.\n\n An awkward silence. Benedict takes Tess's hand in his.", "The Goons step in, slap Danny alert. At last, Danny\n recognizes Benedict in the room." ], [ "BENEDICT\n Show me.\n\n Fat points to the security-cam view of the vault corridor\n and vault -- Livingston's tape.", "BENEDICT\n We had that installed on Tuesday.\n The image we saw of the men\n robbing us was a tape.\n\n WALSH (V.O.)\n What?", "Walsh stands before several monitors as Slim cues up the\n \"masked men robbing the vault\" image of a few minutes ago\n beside the present image of Benedict staring at the vault\n wall.", "BENEDICT\n Someone built a double of my\n vault, then made a tape of them\n robbing it. When we saw them\n putting money in those bags, that\n wasn't actually happening.", "BENEDICT\n (on phone)\n Alright. You've proved your\n point. You've broken into my\n vault. Congratulations: you're a\n dead man.", "270 INT. VAULT 270\n\n Benedict exhales.", "An overhead view of Benedict as he pulls out the\n combination to the vault, reads it, then buries it in his\n jacket pocket.\n\n RUSTY\n Did you make it out?", "Caldwell. He keeps an eye on the cage door, waiting for\n Benedict to appear, as he tries anything to shake out his\n nerves. Then, from a discreet earpiece he wears, comes:", "BENEDICT\n Get everyone in position. I want\n my vault back before that van hits\n the tarmac.\n\n\n LONGER MONTAGE now, CUTTING BETWEEN:", "BENEDICT\n Do it.\n\n SWAT LEADER (V.O.)\n (over radio)\n Cut it.", "... and Benedict hears it.\n\n BENEDICT\n (to Walsh)\n He's in the casino right now.", "Walsh mouths to Benedict: \"SWAT team is here.\" Benedict\n nods and throws him a thumbs-up.", "BENEDICT\n What the hell is going on down\n there in the vault?\n\n FAT\n Nothing, sir. All normal.", "BENEDICT\n Good. Now I have one of my own.\n\n RUSTY (V.O.)\n Yes?", "BENEDICT\n (to Walsh)\n Make the call.\n\n Walsh grabs a phone, punches numbers...", "BENEDICT\n Walsh, cue up the tape of the\n robbery.", "BENEDICT\n (dropping his walkie-\n talkie to his side)\n Shit.\n\n WALSH (V.O.)\n Sir... sir...", "BENEDICT\n (into walkie-talkie he\n has with him)\n Walsh: How are we with the van?", "Benedict steps over the scattered remains of his vault.\n He picks up a fragment of a cash cart, burnt to a crisp,\n then lets it drop.", "BENEDICT\n What the hell was that?\n\n (CONTINUED)" ] ]

[ "How does Basher disrupt the electrical power at the casino?", "Whose coat did Danny plant a cell phone in?", "Who is Tess dating?", "How does Danny travel to the vault after Bruiser let him off?", "What does Benedict realize about the vault video?", "Whom did Linus pose as?", "Why did Danny have a replica of the casino vault replicated?", "What did Danny's team pose as to get into the vault?", "How much money was predicted to be stored in the Bellagio vault the night of the boxing match?", "Who is Danny's Best friend and \"partner in crime?", "Which casinos to Danny and Rusty plan to rob?", "Who is Reuben's rival?", "Who is Terry Benedict's girlfriend?", "What is the name of the person that \"beats\" Danny up?", "Who is smuggled into the vault by the Malloy brothers?", "Who poses as a wealthy arms dealer?", "Who activates the EMP unit?", "What did the team pose as to get the money out of the casino?", "What is Ramon Escalante's real name?", "How does Danny violate his parole?", "What three casino's does Danny intend to rob?", "How much money does Danny expect the casino to have during the boxing match?", "Who is Tess?", "Where is the vault access code hidden?", "How does Saul draw security away from the vault monitors?", "What does Basher use to disable the casino's electricity?", "What does Benedict's men find inside the duffel bags driven by the remote controlled car?", "How long does Danny tell Benedict it will take him to find his money?", "How does Benedict know that the Vault footage is pre-recorded?" ]

[ [ "With the use of an activated EMP.", "EMP Device" ], [ "Tess's coat.", "Tess's" ], [ "Benedict.", "Terry Benedict. " ], [ "Through a ventilation shaft.", "a ventilation shaft" ], [ "It had been pre-recorded.", "It was pre-recorded" ], [ "A gaming commission agent.", "gaming commission agent" ], [ "To practice how to get by it.", "To create a fake video" ], [ "A S.W.A.T team.", "Swat officers" ], [ "More than $150,000,000.", "$150,000,000" ], [ "Rusty Ryan", "Rusty Ryan" ], [ "The Bellagio, The Mirage, and the MGM Grand", "Bellagio, the Mirage, and the MGM Grand Casino" ], [ "Terry Benedict", "Terry Benedict. " ], [ "Tess", "Tess" ], [ "Bruiser", "Bruiser" ], [ "Yen", "Yen. " ], [ "Saul", "Saul Bloom" ], [ "Basher", "Basher" ], [ "S.W.A.T Team", "S.W.A.T. Officers" ], [ "Frank Catton", "Frank Catton" ], [ "By travelling to California.", "traveling to California" ], [ "Bellagio, Mirage, and MGM.", "Bellagio, The Mirage, MGM Grand" ], [ "150000000", "$150,000,000" ], [ "Danny's ex wife.", "Danny's ex-wife and Benedict's current girlfriend" ], [ "In Benedict's pocket.", "In Benedict's jacket." ], [ "By faking a heart attack.", "He pretends to be having a heart attack." ], [ "An EMP device.", "EMP Device" ], [ "Flyers.", "flyers advertising prostitutes" ], [ "72 hours.", "72 hours" ], [ "The vault floor does not have the Bellagio logo.", "It lacked the vault floor logo that had been recently installed." ] ]

[ [ "Rev. Doughty finishes. The mourners exchange farewells. Wade \n looks at Lillian. Margie and Rolfe, escorting Wade's father, \n let him be. He walks over, hugs Jill.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "Most parents have left or are leaving with their costumed \n children. Hewitt's burgundy pickup breaks alongside the Audi. \n Wade swings open the passenger door, jumps to the ground:", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "He looks at the house, decides to go in. Wade walks up the \n shoveled steps, knocks on the door. ALMA, 60, wearing plaid \n shirt and slacks, greets him with a smile:", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "WADE WHITEHOUSE, driving, sits beside JILL, his daughter, \n ten years-old, wearing a black-and-yellow tiger plastic mask.", "Jill in the spotlight, joins the costumed children. A former \n classmate calls her name. Wade, relieved, watches, then steps \n outside for a smoke.\n\n CUT TO:", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "CUT TO:\n\n INT. MARGIE'S CAR - NIGHT\n\n Wade leans close to his father, his breath on his:", "WADE\n I don't know you. My goddamn father \n and I don't know you.\n\n Wade walks from the glistening snow into the dark barn.", "daughter are up the weekend. Didn't \n you say you'd seen him, Wade?", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "Wade parks the truck, walks past leafless bushes to a charcoal-\n gray split-level with pink shutters. He pushes the door bell; \n the first notes of \"Frere Jacques\" play.", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:", "Wade looks up to the window where Jill waits, walks around \n the front of the truck, gets in.\n\n CUT TO:", "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw." ], [ "Jill returns, wearing parka and boots, heads out with her \n father.\n\n LILLIAN\n Bye, honey! Call me tonight if you \n want.", "JILL\n I... because I want to go home. She \n said she'd come and get me.", "JILL\n (pause)\n I called Mommy.\n\n WADE\n What? You called Mommy? Just now?", "JILL\n Oh.\n\n Wade opens the truck door. Jill climbs in with her overnight \n bag, looks back to the door where Lillian watches.", "WADE\n Picked up Jill. She was supposed to \n visit for the weekend for Halloween. \n She wanted to go home.", "Jill stands alone in the corner next to the pay phone, tiny, \n forlorn. Wade realizes at once he was wrong to leave her \n before she had found a friend.", "He waits. There's no answer. Jill looks down.\n\n WADE\n She's gone already!\n (hangs up)\n Gone already! Couldn't wait.", "JILL\n (tugging at Lillian)\n Mom.\n\n LILLIAN\n She has an ice-skating lesson at \n four.", "WADE\n Aw, shit, she's here to get Jill. Me \n and Jill had a little argument. Jack,", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "WADE\n Lillian!\n\n LILLIAN\n Where's Jill?", "WADE\n She won't be here for a half hour. \n Think you can stand it that long?\n\n JILL\n Yes.", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "JILL\n Oh.\n\n CUT TO:\n\n INT. WICKHAM'S - DAY", "JILL\n (voice breaking)\n I want to go home.\n (Wade kneels down)\n I don't like it here.", "JILL\n I don't want to be here. Don't worry, \n I love you, Daddy, I do. But I want \n to go home.", "JILL\n Yes.\n\n WADE\n Jesus, why?", "JILL\n That's fine with me too. When Mommy \n comes, tell her I'm up here.\n\n Wade Whitehouse stalks out.", "Wade moves back like a bear, covering his face and arms. \n Jill, near hysterical, keeps after him, arms and fists flying.", "JILL\n I told her I wanted to come home. \n Daddy, don't be mad at me." ], [ "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "Wade stiffens. Pop cocks his fist. Marg, screaming, jumps \n between them as Pop swings.\n\n The old man bounces blows off Margie's arms and shoulders.", "LaCoy laughs: that Jack Hewitt, some guy. Wade holds his \n aching jaw. He looks at Jack's young athletic body, his pretty \n girlfriend, envies him.", "Wade drives Margie's car toward LaRiviere's. In his rear \n view window he spots Chick Ward driving Chub Merritt's tow", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Rev. Doughty finishes. The mourners exchange farewells. Wade \n looks at Lillian. Margie and Rolfe, escorting Wade's father, \n let him be. He walks over, hugs Jill.", "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "Wade, shivering in the open grader, plows a narrow winding \n road. He lights a cigarette, exhales steamy smoke. LaCoy's \n laugh triggers a memory:", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "LARIVIERE\n No, of course not. Just say it, that's \n all.\n\n Wade watches LaRiviere get into his pickup, drive off.", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw.", "A pickup passes him: Jack Hewitt's burgundy Ford. Wade stops. \n Jack turns up Parker Mountain -- the road to the accident \n scene. Something's up.", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill.", "WADE\n I want to let the gas run out. I \n don't want the bastard driving drunk, \n and he's always drunk now. After, \n we'll hide the keys.", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES." ], [ "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "INT. MARGIE'S BEDROOM - NIGHT\n\n Wade and Margie, post-coital:", "LaCoy laughs: that Jack Hewitt, some guy. Wade holds his \n aching jaw. He looks at Jack's young athletic body, his pretty \n girlfriend, envies him.", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "JILL\n No. She doesn't talk about you \n anymore.\n\n Wade looks at her, wanting to lift her mask, see her face.", "Wade inches her toward the circle of children. Gordon spots \n them:", "Wade sits on the edge of the bed, sighs. Lapses into thought. \n Margie caresses his back, kisses it. He winces.", "LILLIAN, 40, attractive in an ankle-length hooded coat. \n Whatever pose Wade strikes, she strikes the opposite. Her \n dress and demeanor set her apart.", "He looks at the house, decides to go in. Wade walks up the \n shoveled steps, knocks on the door. ALMA, 60, wearing plaid \n shirt and slacks, greets him with a smile:", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Jill in the spotlight, joins the costumed children. A former \n classmate calls her name. Wade, relieved, watches, then steps \n outside for a smoke.\n\n CUT TO:", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "WADE\n Hi honey.\n\n JILL\n (going back inside)\n Hi.", "Margie comes out back with a battered suitcase, goes to her \n car. She's leaving. A plastic bag of clothes sits in the \n trunk.\n\n Wade and Jill get out, approach:", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill." ], [ "MARGIE\n When did she die?\n\n POP\n Is...? She's dead then?\n\n WADE\n Yeah.", "talk about that. You're fucking sly, \n Wade. Your mother's dead so she can't \n make any excuses for you anymore!", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "Wade notices his mother, SALLY, watching from the window.\n\n POP\n What are you, a quitter?\n\n CUT TO:", "WADE\n Well, yes, I'm... I want to say that \n I'm real sorry about your father, \n Mrs. Twombley.", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "Margie's face falls. She retreats from the room as he speaks, \n taking her coat and pocketbook. Wade and his old man, she \n thinks: just the same.", "myself was a character. He had called \n to tell me that sometime the previous \n night our mother had died, and he", "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Wade pushes between them, protecting his mother.\n\n POP\n My big boy bursting out of the seams \n of his jeans!", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs.", "and disappearance. We who loved him \n no longer speak of Wade. It's as if \n he never existed. By telling his", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Rev. Doughty finishes. The mourners exchange farewells. Wade \n looks at Lillian. Margie and Rolfe, escorting Wade's father, \n let him be. He walks over, hugs Jill.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "WADE\n That goddamned woman. Thinks she can \n cart Jill off and leave me alone" ], [ "WADE\n (reluctant)\n I guess it was an accident, like \n everybody thinks.\n\n ROLFE\n Want to know what I think happened?", "ROLFE\n I hate to disappoint you, but I don't \n think it happened.\n\n WADE\n Of course it happened. Why would I \n lie about it?", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "WADE\n That was before Twombley was shot. \n Before he knew.", "WADE\n I know who it is.\n\n LUGENE\n Good. Who?\n\n WADE\n Mel Gordon.", "LARIVIERE\n No, of course not. Just say it, that's \n all.\n\n Wade watches LaRiviere get into his pickup, drive off.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "WADE\n Well, I guess I am. I planned this, \n I planned all this, you know. I mean,", "WADE\n No, I just know Jack's lying about \n what happened. He just seemed -- I", "WADE\n (beat)\n Yeah. I know about that.", "JILL\n I bet you did lots of bad things.\n\n WADE\n What are you talking about?", "WADE\n You sneaky sonofabitch! I've got \n your number now, Gordon! All these", "Silence. Footsteps in the snow. Wade watches, listens. What's \n he doing? Looking for evidence?", "WADE\n I saw Mel Gordon in here this morning.\n\n LARIVIERE\n So?", "WADE\n He musta found out. They had to get \n rid of him. And Jack'll get blamed.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "WADE\n This is maybe worse than you and I \n are used to.\n (beat)\n What I'm talking about, I'm talking \n about murder. Among other things.", "INT. LARIVIERE'S OFFICE - DAY\n\n Wade and Gordon speak. LaRiviere is relaxed, open: a \"new \n Gordon.\"", "JILL\n Yes.\n\n WADE\n Jesus, why?" ], [ "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "Jack steps out, swinging his fists wildly. Wade gets out. \n Jacks grabs his rifle, points it:", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "They walk over to Jack's burgundy pickup. Wade eyes the rifles \n in the gun rack.", "Wade unloads the cardboard boxes filled with his office \n belongings from the back of the truck and sets them on the \n ground. He gathers up his rifles.", "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off.", "Wade backs off.\n\n JACK\n Don't move! I'll shoot you dead if \n you move!", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Wade looks at his old man, that dumb devilish grin plastered \n on his father's face. Glen Whitehouse holds an empty whiskey \n bottle like a pistol.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Jack waits for Twombley as they enter a meadow. Jack aims \n his rifle at Twombley as he approaches.", "Wade stiffens. Pop cocks his fist. Marg, screaming, jumps \n between them as Pop swings.\n\n The old man bounces blows off Margie's arms and shoulders.", "Pop's red truck is parked behind Jack Hewitt's 4x4 on a snow-\n banked road. Wade, hunting rifle pointed up, traces Jack's \n footsteps down the slope of the mountain.", "JACK\n I'll shoot you, Wade, I swear it! \n I'll fucking shoot you dead if you \n don't move away from that truck!", "Wade exits through the KITCHEN, snatching his coat.\n\n CUT TO:\n\n EXT. BARN - DAY", "Wade, eyes blazing, squares off. Son to father.\n\n ROLFE\n Wade, just leave it.", "Burning flesh and heat drive Wade backwards.\n\n CUT TO:\n\n EXT. WHITEHOUSE FARM - DAY" ], [ "Jill flies into Marg. Her nose is bleeding. Wade's caught \n her across the mouth and nose. She takes cover behind Margie, \n crying.", "Wade moves back like a bear, covering his face and arms. \n Jill, near hysterical, keeps after him, arms and fists flying.", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "The diner goes silent. Hunters look up. Jill's face is white; \n she starts to cry.", "JILL\n Yes.\n\n WADE\n Jesus, why?", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "JILL\n It's not that.\n\n WADE\n What then?\n\n JILL\n It's stupid.", "JILL\n (voice breaking)\n I want to go home.\n (Wade kneels down)\n I don't like it here.", "JILL\n No. She doesn't talk about you \n anymore.\n\n Wade looks at her, wanting to lift her mask, see her face.", "JILL\n Was it funny?\n\n WADE\n To us it was.\n\n JILL\n But it's not funny now.", "HORNER, 45, Lillian's new husband, thin with thinning hair \n and a Tyrolean hat, sees Jill at the entrance and heads toward \n her.", "JILL\n Oh.\n\n Wade opens the truck door. Jill climbs in with her overnight \n bag, looks back to the door where Lillian watches.", "JILL\n (tugging at Lillian)\n Mom.\n\n LILLIAN\n She has an ice-skating lesson at \n four.", "WADE\n Where do you expect to wait for her? \n Obviously downstairs with the other \n kids isn't good enough.\n\n Jill sits in a chair facing the dark window pane.", "WADE\n Jill, please, it's alright. Nothing \n happened.\n\n JILL\n I want to go home.", "JILL\n I bet you did lots of bad things.\n\n WADE\n What are you talking about?", "JILL\n Yes.\n\n WADE\n That's all you got to say? \"Yes\".\n\n JILL\n Yes." ], [ "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw.", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "WADE\n He musta found out. They had to get \n rid of him. And Jack'll get blamed.", "WADE\n I've been wondering if maybe Jack \n shot Twombley, instead of Twombley \n shooting himself. I've been wondering \n maybe Jack shot him on purpose.", "Jack steps out, swinging his fists wildly. Wade gets out. \n Jacks grabs his rifle, points it:", "Wade exits through the KITCHEN, snatching his coat.\n\n CUT TO:\n\n EXT. BARN - DAY", "Wade backs off.\n\n JACK\n Don't move! I'll shoot you dead if \n you move!", "Wade doesn't budge. Jack backs away; Wade inches forward.\n\n Hewitt's trapped. Trees behind him. Neither truck has traction \n on ice.", "A pickup passes him: Jack Hewitt's burgundy Ford. Wade stops. \n Jack turns up Parker Mountain -- the road to the accident \n scene. Something's up.", "Wade comes over a low rise, spots Jack's pickup. He kills \n the lights, parks to block Jack's exit.", "WADE\n No, I just know Jack's lying about \n what happened. He just seemed -- I", "Even without the footprints, the \n bullet, Wade's utter disappearance \n seemed evidence enough of his guilt.", "Burning flesh and heat drive Wade backwards.\n\n CUT TO:\n\n EXT. WHITEHOUSE FARM - DAY", "WADE\n (shocked)\n Jack?\n\n NICK\n The other guy.", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "ROLFE (O.S.)\n You think Jack shot him?\n\n WADE\n Well, it was an accident.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off." ], [ "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade exits toward the blue grader.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade, shivering in the open grader, plows a narrow winding \n road. He lights a cigarette, exhales steamy smoke. LaCoy's \n laugh triggers a memory:", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:", "WADE\n You and me.\n\n Wade waves his old man off, trudges toward the barn.", "INT. ALMA PITTMAN'S HOUSE - DAY\n\n Wade finishes:", "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off.", "Wade unloads the cardboard boxes filled with his office \n belongings from the back of the truck and sets them on the \n ground. He gathers up his rifles.", "Elaine looks up from her desk as Wade pulls the grader into \n the lot, jumps out, heads for his car. Laviviere stands \n outside.", "Wade looks at his old man, that dumb devilish grin plastered \n on his father's face. Glen Whitehouse holds an empty whiskey \n bottle like a pistol.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "Wade starts his engine, gives pursuit. The pickups gun their \n engines, bumper to bumper, down mountain roads, lumber roads, \n rocky trails. Wild headlamps their only guide.", "CUT TO:\n\n INT. WADE'S TRAILER - DAWN", "CUT TO:\n\n INT. WADE'S TRAILER - NIGHT", "CUT TO:\n\n INT. WADE'S TRAILER - NIGHT", "J. BATTLE HAND, 60, sits in a wheel chair behind his desk. \n Wade, uncomfortable in work clothes, tries not to show it.", "CUT TO:\n\n EXT. WICKHAM'S - NIGHT\n\n A car drops Wade off. \"Home Made Cooking.\"", "WADE\n Hi honey.\n\n JILL\n (going back inside)\n Hi." ], [ "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "ROLFE (O.S.)\n What happened?\n\n WADE\n A divorce lawyer. A custody lawyer. \n You know, 'cause of Jill.", "WADE\n Oh.\n\n HAND\n (sensing situation)\n You might be better off legally as \n well as financially to just go for \n the --", "WADE\n I just want to pick up my divorce \n papers. For the lawyer. It won't \n take long.\n\n CUT TO:", "ROLFE (O.S.)\n Who?\n\n WADE\n Jill. I was thinking of getting a \n lawyer. Maybe you can help me.", "WADE\n Yes.\n\n HAND\n Fine. I'll need a $500 retainer. You \n can mail it.", "WADE\n Yeah. I know. The custody suit thing \n was just my getting back at her. I'm", "JILL\n (quiet)\n That's illegal, you know.\n\n WADE\n I know.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "JILL\n Yes.\n\n WADE\n Jesus, why?", "WADE\n Jesus Christ. Mr. Gordon, when I \n come all the way to serve somebody a \n summons, I don't call ahead for an \n appointment.", "WADE\n That was before Twombley was shot. \n Before he knew.", "WADE\n Well, yeah, I suppose. Sure. I just \n had a little business to settle with \n Mr. Gordon. I'm the local police \n officer.", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "WADE\n Everybody needs money. Except guys \n like Twombley and that sonofabitch \n son-in-law of his. People like that.", "INT. LAWYER'S OFFICE - DAY", "JILL\n I bet you did lots of bad things.\n\n WADE\n What are you talking about?", "WADE\n Fuck you.\n\n LARIVIERE\n That's what I love about a small \n town. You know everybody.", "WADE\n You be careful of that little bastard. \n He's dying to get in your pants, you \n know.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could." ], [ "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "Jack stops fifty feet away, watches Twombley, a cartoon \n character. A stag pokes his nose through the pines, steps \n into a clearing. Jack aims his rifle, looks at Twombley.", "JACK\n Nope. Heard it. We wasn't far apart. \n I spotted this buck, then I heard", "accident, you get fined fifty bucks \n and your hunting license lifted. \n Jack's probably saying the guy shot", "JACK\n Fresh tracks.\n (sniffs)\n Deer shit. Big one. Here's your buck, \n Mr. Twombley. I'll circle around.", "Massachusetts. Friend of Gordon's. \n It was his idea for Jack to take him \n hunting.\n (suddenly engaged)", "ROLFE (O.S.)\n They were out deer hunting, right? \n Jack probably heard the gun go off, \n then came back and found the body.", "Jack and Twombley walk through fresh snow. The hillside's \n thick with pine trees. Twombley, red-faced, puffing, leans", "Jack waits for Twombley as they enter a meadow. Jack aims \n his rifle at Twombley as he approaches.", "JACK\n Who the fuck knows? Musta slipped or \n something. I just heard the gun go \n off.", "Jack, hit in the chest, falls bleeding between trees. Blood \n stains the snow.", "incredibly pissed I was at him, and \n also chasing Jack Hewitt like that, \n and the Goddamned truck going through", "JACK\n Well, I didn't actually see him do \n it. Like I said.\n\n WADE\n Sure you did.", "JACK\n Safety on?\n\n Twombley nods, slips, thumps to the ground. His rifle lands \n silently.", "JACK\n Stay here, stand where I am.\n\n Twombley peers over a slight cliff at a lumber trail twenty \n feet below. Jack points:", "JACK\n I get it.\n (disdain)\n No sweat. You'll get yourself a deer", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "they're headed. Up the lake, Agaway. \n The old man's out deer hunting with \n Jack Hewitt, so they probably got", "the gun go off and Twombley was gone. \n I looked over the little cliff we \n was using for a stand and there the", "LARIVIERE\n Jimmy took it. Jack's out hunting \n with Evan Twombley.\n\n WADE\n His son-in-law damn near killed me." ], [ "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "INT. MARGIE'S BEDROOM - NIGHT\n\n Wade and Margie, post-coital:", "LaCoy laughs: that Jack Hewitt, some guy. Wade holds his \n aching jaw. He looks at Jack's young athletic body, his pretty \n girlfriend, envies him.", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "JILL\n No. She doesn't talk about you \n anymore.\n\n Wade looks at her, wanting to lift her mask, see her face.", "Wade inches her toward the circle of children. Gordon spots \n them:", "Wade sits on the edge of the bed, sighs. Lapses into thought. \n Margie caresses his back, kisses it. He winces.", "LILLIAN, 40, attractive in an ankle-length hooded coat. \n Whatever pose Wade strikes, she strikes the opposite. Her \n dress and demeanor set her apart.", "He looks at the house, decides to go in. Wade walks up the \n shoveled steps, knocks on the door. ALMA, 60, wearing plaid \n shirt and slacks, greets him with a smile:", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Jill in the spotlight, joins the costumed children. A former \n classmate calls her name. Wade, relieved, watches, then steps \n outside for a smoke.\n\n CUT TO:", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "WADE\n Hi honey.\n\n JILL\n (going back inside)\n Hi.", "Margie comes out back with a battered suitcase, goes to her \n car. She's leaving. A plastic bag of clothes sits in the \n trunk.\n\n Wade and Jill get out, approach:", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill." ], [ "MARGIE\n When did she die?\n\n POP\n Is...? She's dead then?\n\n WADE\n Yeah.", "talk about that. You're fucking sly, \n Wade. Your mother's dead so she can't \n make any excuses for you anymore!", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Wade notices his mother, SALLY, watching from the window.\n\n POP\n What are you, a quitter?\n\n CUT TO:", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "WADE\n That was before Twombley was shot. \n Before he knew.", "JILL\n Yes.\n\n WADE\n Jesus, why?", "WADE\n Well, yes, I'm... I want to say that \n I'm real sorry about your father, \n Mrs. Twombley.", "Wade pushes between them, protecting his mother.\n\n POP\n My big boy bursting out of the seams \n of his jeans!", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "JILL\n (pause)\n I called Mommy.\n\n WADE\n What? You called Mommy? Just now?", "Margie's face falls. She retreats from the room as he speaks, \n taking her coat and pocketbook. Wade and his old man, she \n thinks: just the same.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could." ], [ "ROLFE (V.O.)\n LaRiviere and Mel Gordon were indeed \n in business. The Parker Mountain Ski", "INT. LARIVIERE'S OFFICE - DAY\n\n Wade and Gordon speak. LaRiviere is relaxed, open: a \"new \n Gordon.\"", "LARIVIERE\n Mel's doing some business with me. \n It's nice to do favors for people \n you do business with. He was in a \n hurry. No big deal.", "The vice-president and treasurer is \n Gordon LaRiviere. Those boys are \n buying up the mountain, Wade. $364,000", "LARIVIERE\n We bought you.\n\n JACK\n That was me.\n\n CUT TO:", "Gordon LaRiviere, speaking on the phone past a glass \n partition, calls to Wade:", "CUT TO:\n\n EXT. LARIVIERE CO. - DAY", "CUT TO:\n\n EXT. LARIVIERE CO. - DAY", "LARIVIERE\n He's on to us!\n\n JACK\n Shit! What are we gonna do?", "CUT TO:\n\n INT. LARIVIERE'S OFFICE - DAY", "CUT TO:\n\n INT. LARIVIERE'S OFFICE - DAY", "EXT. MERRITT'S STATION - DAY\n\n Gordon LaRiviere examines his damaged pickup outside the \n Shell station.\n\n CUT TO:", "LARIVIERE\n Not there, asshole. Flush it!\n\n Hewitt trudges to the john.\n\n WADE\n Morning, Gordon.", "CUT TO:\n\n INT. LARIVIERE CO. - DAY", "WADE\n I saw Mel Gordon in here this morning.\n\n LARIVIERE\n So?", "LARIVIERE\n No, of course not. Just say it, that's \n all.\n\n Wade watches LaRiviere get into his pickup, drive off.", "WADE\n I won't. You interested?\n\n LARIVIERE\n Maybe.\n\n WADE\n You and Mel Gordon?", "WADE\n But you gotta hear this. You won't \n believe it. Mel Gordon had come by \n to visit LaRiviere and so now I'm in \n his office.", "ALMA\n All the figures show is that Gordon \n LaRiviere is going to be a very rich", "EXT. LARIVIERE CO. GARAGE - DAY\n\n Wade walks in as Jack and Jimmy prepare to head out, their \n drilling rig loaded with pipe. Gordon yells at Jack:" ], [ "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "Wade holds his inflamed jaw; he can hardly see straight. Pop \n turns on the TV in the living room, boosts the volume.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade sits on the edge of the bed, sighs. Lapses into thought. \n Margie caresses his back, kisses it. He winces.", "him. Pop, frail, collapses to the floor. Wade kneels over \n him:", "Pop's fist comes crashing down. Wade raises his arms to \n protect himself. Wade's arm bone CRACKS with the blow. Wade \n grimaces in pain.", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw.", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "WADE\n It's my tooth! My fucking tooth! I \n can't even think anymore because of \n it.", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade, shivering in the open grader, plows a narrow winding \n road. He lights a cigarette, exhales steamy smoke. LaCoy's \n laugh triggers a memory:", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "Wade moves back like a bear, covering his face and arms. \n Jill, near hysterical, keeps after him, arms and fists flying.", "LaCoy laughs: that Jack Hewitt, some guy. Wade holds his \n aching jaw. He looks at Jack's young athletic body, his pretty \n girlfriend, envies him.", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:", "WADE\n Yeah, sure. Why? I got this damned \n tooth, I got a few things bugging \n me, like everybody else. But I'm \n okay.", "In his arms Margie feels trapped, overwhelmed by Wade's \n circumstances and terrible sadness. She pushes:\n\n MARGIE\n (crying)\n Leave me alone! Leave me alone!" ], [ "WADE\n Tell me.\n\n CHICK\n Chub says you're fired.", "WADE\n He can't fire me. LaRiviere already \n did that this morning.", "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off.", "WADE\n That was before Twombley was shot. \n Before he knew.", "Wade unloads the cardboard boxes filled with his office \n belongings from the back of the truck and sets them on the \n ground. He gathers up his rifles.", "LaRiviere smiles, goes to his office as Wade hangs his coat \n in his locker. Jack cruises over.\n\n JACK\n I'm fucking out of here.", "WADE\n His office. You mean my old office.\n\n NICK\n Well, I guess -- that's what he said.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "The other party has hung up. Margie stands, upset. Wade slams \n the phone down.", "WADE\n He musta found out. They had to get \n rid of him. And Jack'll get blamed.", "LARIVIERE\n Wade, you're done.\n (extends hand)\n Let me have the shop keys.", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "JILL\n Yes.\n\n WADE\n Jesus, why?", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "Wade exits through the KITCHEN, snatching his coat.\n\n CUT TO:\n\n EXT. BARN - DAY", "ROLFE\n I hate to disappoint you, but I don't \n think it happened.\n\n WADE\n Of course it happened. Why would I \n lie about it?", "WADE\n Lawford?\n\n JACK\n Out of this fucking job. This job \n sucks. Working outside in the winter \n sucks.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:" ], [ "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade looks at his old man, that dumb devilish grin plastered \n on his father's face. Glen Whitehouse holds an empty whiskey \n bottle like a pistol.", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Pop's fist comes crashing down. Wade raises his arms to \n protect himself. Wade's arm bone CRACKS with the blow. Wade \n grimaces in pain.", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "Wade pushes Marg aside, grabs his father in a bear hug and \n walks him backwards, flat against the wall. Wade releases", "ROLFE (O.S.)\n You think Jack shot him?\n\n WADE\n Well, it was an accident.", "CUT TO:\n\n INT. MARGIE'S CAR - NIGHT\n\n Wade leans close to his father, his breath on his:", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "Wade, eyes blazing, squares off. Son to father.\n\n ROLFE\n Wade, just leave it.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "WADE\n (reluctant)\n I guess it was an accident, like \n everybody thinks.\n\n ROLFE\n Want to know what I think happened?", "him. Pop, frail, collapses to the floor. Wade kneels over \n him:", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "WADE\n I don't know you. My goddamn father \n and I don't know you.\n\n Wade walks from the glistening snow into the dark barn.", "LARIVIERE\n Fuck. Turn it off.\n (Wade does)\n All you heard was there was some \n kinda accident?", "Suddenly! A whiskey bottle SLAMS against the back of his \n head. He drops to his knees, the guns scatter. He looks up \n with child's fear and guilt at his father.", "JACK\n Well, I didn't actually see him do \n it. Like I said.\n\n WADE\n Sure you did." ], [ "ever lived. You need me, even Pop, \n for Christ's sake, he needs me. This \n town needs me. Maybe now they think", "The Fairlane approaches Town Hall, a square two-story building \n on the north side of the Common. Exhaust billows from idling \n cars as parents and children come and go.", "New Hampshire, some of Massachusetts. \n Facts do not make history. Our \n stories, Wade's and mine, describe", "that gives rise to the telling of \n this story -- occurred during a single \n deer-hunting season in a small town", "I got to get back, get back to town. \n Move this thing, will you? See if \n you can get back to the Town Hall", "The South Main Street office of J. Battle Hand, lawyer. \n Concord is a real town, with traffic, stores, people with \n places to go.\n\n CUT TO:", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "-- Toby's Inn. Roadhouse three miles from town on the river \n side of Route 29. Everything not tied down ends up here.\n\n -- Glen Whitehouse farm. White clapboard.", "He pulls over, lets it pass. He's parked in front of Alma \n Pittman's house. A sign on the lawn reads, \"Alma Pittman, \n Town Clerk.\"", "Hampshire west to east, retreating \n northward to Concord where it melted \n by midmorning.", "man using his position as Selectman. \n In a year or two, you won't recognize \n this town.", "ROLFE (V.O.)\n The historical facts are known by \n everyone -- all of Lawford, all of", "CUT TO:\n\n INT. TOWN HALL - NIGHT", "CUT TO:\n\n EXT. TOWN HALL - NIGHT", "CUT TO:\n\n EXT. TOWN HALL - NIGHT", "The town's 24-hour restaurant. A bright new sign reads: \"Home \n Made Cooking.\" Wade's grader out front.\n\n CUT TO:", "-- Merritt's Shell Station. Cinder-block.\n\n -- Alma Pittman's house. Like so many others.\n\n -- Town Hall.", "JACK\n Piece of fucking cake.\n\n Jack brakes, wheels the 4x4 around, heads back to town.\n\n CUT TO:", "in upstate New Hampshire where Wade \n was raised and so was I. One night \n something changed and my relation to", "Townspeople and friends cluster around the gravesite: Pop, \n LaRiviere, Jack and Hettie, LaCoy, Chub Merritt, Nick, Jimmy," ], [ "WADE WHITEHOUSE, driving, sits beside JILL, his daughter, \n ten years-old, wearing a black-and-yellow tiger plastic mask.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "Rev. Doughty finishes. The mourners exchange farewells. Wade \n looks at Lillian. Margie and Rolfe, escorting Wade's father, \n let him be. He walks over, hugs Jill.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked", "WADE\n Yeah.\n\n LILLIAN\n She's grown up some, hasn't she?", "Wade looks at his old man, that dumb devilish grin plastered \n on his father's face. Glen Whitehouse holds an empty whiskey \n bottle like a pistol.", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "He looks at the house, decides to go in. Wade walks up the \n shoveled steps, knocks on the door. ALMA, 60, wearing plaid \n shirt and slacks, greets him with a smile:", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Jill in the spotlight, joins the costumed children. A former \n classmate calls her name. Wade, relieved, watches, then steps \n outside for a smoke.\n\n CUT TO:", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "JILL\n Oh.\n\n Wade opens the truck door. Jill climbs in with her overnight \n bag, looks back to the door where Lillian watches.", "WADE\n Low as what? What have I done? It's \n bad to want to see your own daughter?", "CUT TO:\n\n INT. MARGIE'S CAR - NIGHT\n\n Wade leans close to his father, his breath on his:", "Wade inches her toward the circle of children. Gordon spots \n them:", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs." ], [ "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "WADE\n (reluctant)\n I guess it was an accident, like \n everybody thinks.\n\n ROLFE\n Want to know what I think happened?", "ROLFE (O.S.)\n You think Jack shot him?\n\n WADE\n Well, it was an accident.", "A pickup passes him: Jack Hewitt's burgundy Ford. Wade stops. \n Jack turns up Parker Mountain -- the road to the accident \n scene. Something's up.", "LARIVIERE\n What's the hurry?\n\n WADE\n A hunting accident. Jack and Twombley.", "Silence. Footsteps in the snow. Wade watches, listens. What's \n he doing? Looking for evidence?", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "WADE\n That was before Twombley was shot. \n Before he knew.", "WADE\n No, I just know Jack's lying about \n what happened. He just seemed -- I", "accident, you get fined fifty bucks \n and your hunting license lifted. \n Jack's probably saying the guy shot", "ROLFE\n I hate to disappoint you, but I don't \n think it happened.\n\n WADE\n Of course it happened. Why would I \n lie about it?", "Pop's red truck is parked behind Jack Hewitt's 4x4 on a snow-\n banked road. Wade, hunting rifle pointed up, traces Jack's \n footsteps down the slope of the mountain.", "WADE\n Shit, around here, you shoot somebody \n in the woods, you say it was an", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "LARIVIERE\n Fuck. Turn it off.\n (Wade does)\n All you heard was there was some \n kinda accident?", "WADE\n He musta found out. They had to get \n rid of him. And Jack'll get blamed." ], [ "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "INT. MARGIE'S BEDROOM - NIGHT\n\n Wade and Margie, post-coital:", "LaCoy laughs: that Jack Hewitt, some guy. Wade holds his \n aching jaw. He looks at Jack's young athletic body, his pretty \n girlfriend, envies him.", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "JILL\n No. She doesn't talk about you \n anymore.\n\n Wade looks at her, wanting to lift her mask, see her face.", "Wade inches her toward the circle of children. Gordon spots \n them:", "Wade sits on the edge of the bed, sighs. Lapses into thought. \n Margie caresses his back, kisses it. He winces.", "LILLIAN, 40, attractive in an ankle-length hooded coat. \n Whatever pose Wade strikes, she strikes the opposite. Her \n dress and demeanor set her apart.", "He looks at the house, decides to go in. Wade walks up the \n shoveled steps, knocks on the door. ALMA, 60, wearing plaid \n shirt and slacks, greets him with a smile:", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Jill in the spotlight, joins the costumed children. A former \n classmate calls her name. Wade, relieved, watches, then steps \n outside for a smoke.\n\n CUT TO:", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "WADE\n Hi honey.\n\n JILL\n (going back inside)\n Hi.", "Margie comes out back with a battered suitcase, goes to her \n car. She's leaving. A plastic bag of clothes sits in the \n trunk.\n\n Wade and Jill get out, approach:", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill." ], [ "ROLFE\n It may have happened, but not the \n way you said.\n\n WADE\n You think I wouldn't remember a thing \n like that?", "ROLFE\n I hate to disappoint you, but I don't \n think it happened.\n\n WADE\n Of course it happened. Why would I \n lie about it?", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "ROLFE (V.O.)\n We want to believe Wade died, died \n that same November, froze to death", "WADE\n I get to feeling like a whipped dog \n some days, Rolfe, and some night I'm \n going to bite back. I swear it.", "Rolfe's voice plays over:", "ROLFE\n I was thinking about that story you \n told me, about Pop and chopping the \n firewood out of the ice and after.\n\n WADE\n Yeah.", "ROLFE (O.S.)\n You think Jack shot him?\n\n WADE\n Well, it was an accident.", "WADE\n (laughs again)\n That's what you think.\n\n Rolfe looks out: the cobalt sky has turned black.", "ROLFE (O.S.)\n What happened?\n\n WADE\n A divorce lawyer. A custody lawyer. \n You know, 'cause of Jill.", "Wade, eyes blazing, squares off. Son to father.\n\n ROLFE\n Wade, just leave it.", "ROLFE (O.S.)\n Don't think about it. You're \n exhausted.\n\n WADE\n Yeah, I guess.", "ROLFE\n What about Margie?\n\n WADE\n What about her?", "WADE\n Who?\n\n ROLFE (O.S.)\n Twombley.\n\n WADE\n No shit.", "Late. Wade Whitehouse, lying in bed with an icepack on his \n cheek, talks on the phone:\n\n WADE\n Rolfe.", "Wade, expressionless, looks at Rolfe. Rolfe, embarrassed, \n trying to do the right thing, helps his father kneel beside \n Rev. Doughty. The others join the circle.", "Pop's fist comes crashing down. Wade raises his arms to \n protect himself. Wade's arm bone CRACKS with the blow. Wade \n grimaces in pain.", "WADE\n (reluctant)\n I guess it was an accident, like \n everybody thinks.\n\n ROLFE\n Want to know what I think happened?", "WADE\n (reproving)\n Rolfe.", "ROLFE (V.O.)\n Wade was telling a different story, \n or so it seemed then, one in which I" ], [ "MARGIE\n When did she die?\n\n POP\n Is...? She's dead then?\n\n WADE\n Yeah.", "talk about that. You're fucking sly, \n Wade. Your mother's dead so she can't \n make any excuses for you anymore!", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "Wade notices his mother, SALLY, watching from the window.\n\n POP\n What are you, a quitter?\n\n CUT TO:", "WADE\n Well, yes, I'm... I want to say that \n I'm real sorry about your father, \n Mrs. Twombley.", "WADE\n (soft)\n Nothing.\n\n POP\n You no-good pup!\n\n Rolfe runs from the room screaming, \"Mom!\"", "Margie's face falls. She retreats from the room as he speaks, \n taking her coat and pocketbook. Wade and his old man, she \n thinks: just the same.", "myself was a character. He had called \n to tell me that sometime the previous \n night our mother had died, and he", "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that.", "Wade pushes between them, protecting his mother.\n\n POP\n My big boy bursting out of the seams \n of his jeans!", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs.", "and disappearance. We who loved him \n no longer speak of Wade. It's as if \n he never existed. By telling his", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Rev. Doughty finishes. The mourners exchange farewells. Wade \n looks at Lillian. Margie and Rolfe, escorting Wade's father, \n let him be. He walks over, hugs Jill.", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "WADE\n That goddamned woman. Thinks she can \n cart Jill off and leave me alone" ], [ "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Wade drives Margie's car toward LaRiviere's. In his rear \n view window he spots Chick Ward driving Chub Merritt's tow", "Jack steps out, swinging his fists wildly. Wade gets out. \n Jacks grabs his rifle, points it:", "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "Wade starts his engine, gives pursuit. The pickups gun their \n engines, bumper to bumper, down mountain roads, lumber roads, \n rocky trails. Wild headlamps their only guide.", "Wade doesn't budge. Jack backs away; Wade inches forward.\n\n Hewitt's trapped. Trees behind him. Neither truck has traction \n on ice.", "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off.", "Wade backs off.\n\n JACK\n Don't move! I'll shoot you dead if \n you move!", "Wade drops into first gear, follows, his headlights reflecting \n ice. He drives directly to Jack, bumper to bumper, headlight \n to headlight. Jack sticks his head out:", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:", "WADE\n Shit, around here, you shoot somebody \n in the woods, you say it was an", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "The burgundy pickup engine suddenly ROARS -- Jack's back and \n at the wheel -- the tires squeal, spit snow as he spins past \n Wade.", "Wade comes over a low rise, spots Jack's pickup. He kills \n the lights, parks to block Jack's exit.", "JACK\n I'll shoot you, Wade, I swear it! \n I'll fucking shoot you dead if you \n don't move away from that truck!", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "Wade and Jimmy head out.\n\n CUT TO:\n\n EXT. BACKROAD - DAY", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY" ], [ "Wade emerges with cardboard boxes of office miscellany, rifles \n laid across top. He shoves the boxes and guns into the back \n of the pickup, gets in and drives off.", "WADE\n His office. You mean my old office.\n\n NICK\n Well, I guess -- that's what he said.", "Wade unloads the cardboard boxes filled with his office \n belongings from the back of the truck and sets them on the \n ground. He gathers up his rifles.", "LaRiviere smiles, goes to his office as Wade hangs his coat \n in his locker. Jack cruises over.\n\n JACK\n I'm fucking out of here.", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "Wade leads her to a frosted-glass door reading \"POLICE\", \n enters. Inside, he flips on flourescent light, dials the \n desk phone. More utility room than office.", "Wade storms in, shouting. Jack and Jimmy choose donuts by \n the file cabinet. LaRiviere's behind his desk. Wade's tooth \n makes it hard for him to talk without pain:", "INT. LARIVIERE'S OFFICE - DAY\n\n Wade and Gordon speak. LaRiviere is relaxed, open: a \"new \n Gordon.\"", "Elaine looks up from her desk as Wade pulls the grader into \n the lot, jumps out, heads for his car. Laviviere stands \n outside.", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Wade, all eyes and ears, watches. Mel Gordon parks in front \n of the office, gets out. Elaine calls:\n\n ELAINE (O.S.)\n Mr. Gordon!", "Wade's Ford pickup passes J. Battle Hand's office, keeps \n going. Grass peeks through the snow at this lower altitude.\n\n CUT TO:", "The other party has hung up. Margie stands, upset. Wade slams \n the phone down.", "WADE\n Do what?\n\n JILL\n You know.\n\n WADE\n Break stuff?", "Wade exits through the KITCHEN, snatching his coat.\n\n CUT TO:\n\n EXT. BARN - DAY", "Wade, flaring, reaches across the counter and grabs Nick by \n the shirtfront! Nick's arm knocks over a cup of coffee.", "Glen Whitehouse, plastered, yells at Wade, age 13:", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade stands; Hand motors to the door. Wade puts his fingers \n in his mouth. His tooth throbs.\n\n CUT TO:", "Wade nods as he lights a cigarette. Alone, he watches the \n last cars pull out. He holds his jaw.\n\n CUT TO:" ], [ "Wade moves back like a bear, covering his face and arms. \n Jill, near hysterical, keeps after him, arms and fists flying.", "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "Wade stiffens. Pop cocks his fist. Marg, screaming, jumps \n between them as Pop swings.\n\n The old man bounces blows off Margie's arms and shoulders.", "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "Wade goes over, puts his arms around her, pats her back. His \n face is racked. He, too, seems about to cry -- if he could.", "Wade pushes Marg aside, grabs his father in a bear hug and \n walks him backwards, flat against the wall. Wade releases", "WADE\n I'm going to start one of those \n custody suits. I don't give a fucking \n shit. You know?\n\n Wade's eyes well up.", "Jill flies into Marg. Her nose is bleeding. Wade's caught \n her across the mouth and nose. She takes cover behind Margie, \n crying.", "Wade looks at his old man, that dumb devilish grin plastered \n on his father's face. Glen Whitehouse holds an empty whiskey \n bottle like a pistol.", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "Wade, eyes blazing, squares off. Son to father.\n\n ROLFE\n Wade, just leave it.", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "Jack steps out, swinging his fists wildly. Wade gets out. \n Jacks grabs his rifle, points it:", "WADE WHITEHOUSE, driving, sits beside JILL, his daughter, \n ten years-old, wearing a black-and-yellow tiger plastic mask.", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade looks over -- it takes him a moment to react -- bends \n down, comforting her. He wipes her nose with a napkin.", "CUT TO:\n\n INT. MARGIE'S CAR - NIGHT\n\n Wade leans close to his father, his breath on his:", "Glen Whitehouse, plastered, yells at Wade, age 13:", "Wade steps outside, notices Jack Hewitt and his kewpie-doll \n girlfriend HETTIE, 20, sitting in the cab of his double-parked" ], [ "Wade, bleeding from the head, stands, staggers off Pop's \n inert body, aims his rifle at the old man's face.", "ROLFE (O.S.)\n You think Jack shot him?\n\n WADE\n Well, it was an accident.", "Wade spots Jack poised in a spruce grove, watching for deer. \n Wade bolts his rifle, releases the safety, aims and FIRES.", "WADE\n (reluctant)\n I guess it was an accident, like \n everybody thinks.\n\n ROLFE\n Want to know what I think happened?", "WADE\n Shit, around here, you shoot somebody \n in the woods, you say it was an", "Wade turns and follows. Jack's fresh tracks lead the way. \n Hewitt is driving fast. Wade keeps up.\n\n Jack, far ahead, approaches the accident scene. Stops. Night \n has fallen.", "Wade cringes, scrambles for the dropped rifle. He grabs it \n by the barrel and, twisting around, swings it in a slow motion", "Wade rests the rifle against the truck. He bends over, slips \n his hands under his father's body, lifts him up. He carries \n Pop over to the workbench, lays him out.", "Jack steps out, swinging his fists wildly. Wade gets out. \n Jacks grabs his rifle, points it:", "LARIVIERE\n Fuck. Turn it off.\n (Wade does)\n All you heard was there was some \n kinda accident?", "WADE\n I wish you would die.\n\n Pop spits directly into Wade's face, raises his arm. Wade \n catches it, twists it. Margie shrieks:", "In her rear view mirror she sees the image of Wade receding, \n standing frozen, staring down at the snow. Pop emerges from \n the house, looks at his son, grinning.", "Wade backs off.\n\n JACK\n Don't move! I'll shoot you dead if \n you move!", "Wade sets his face, thinking.\n\n CUT TO:\n\n EXT. WOODS - DAY", "Wade, alone in darkness, plops into the water, paddles to \n shore. Freezing, he finds Jack's tire tracks in the snow. He \n bangs his jaw.", "Wade stands in snow and sunlight. The entire barn is engulfed \n in flames. Black smoke billows through the clear winter sky. \n Inside Glen Whitehouse, a pyre, burns.", "Wade, washed and changed, drives; Marg sits beside him. They \n head north. Deer rifles echo from the woods.", "WADE\n I know you now. I love you too.\n\n Wade bolts the rifle, flicks off the safety, fires -- a loud \n CLICK. The gun's empty.", "Wade, lost in thought, continues toward Town Hall. At the \n door, LaRiviere, one of the last to leave, eyes him. Wade \n tosses Horner's hat inside.", "MARGIE\n You don't mean that.\n\n WADE\n Yeah. I mean that." ], [ "She struggles in Wade's grasp. Jill, frightened, wildly hits \n him from behind:\n\n JILL\n Leave her alone! Leave her alone!", "Wade moves back like a bear, covering his face and arms. \n Jill, near hysterical, keeps after him, arms and fists flying.", "JILL\n (looking ahead)\n Okay.\n\n WADE\n Fine.\n\n Pause. Wade looks over at Jill and realizes she is crying.", "Margie and Jill stand side by side, saying nothing. Wade \n looks up stunned, as if hit by a rock. Marg slowly backs \n away, her arms behind her holding Jill.", "Jill flies into Marg. Her nose is bleeding. Wade's caught \n her across the mouth and nose. She takes cover behind Margie, \n crying.", "WADE\n Oh, Jesus, Jill, I'm sorry. What's \n the matter, honey?\n\n She shoves her clenched fists hard against her legs.", "WADE\n Jill, please, it's alright. Nothing \n happened.\n\n JILL\n I want to go home.", "JILL\n (voice breaking)\n I want to go home.\n (Wade kneels down)\n I don't like it here.", "Jill steps forward, retreats. Wade looks at her flaxen hair, \n her blue sneakers protruding from her pathetic costume. His \n heart aches he loves her so.", "Margie comes out back with a battered suitcase, goes to her \n car. She's leaving. A plastic bag of clothes sits in the \n trunk.\n\n Wade and Jill get out, approach:", "Wade stumbles backwards into the snow. Jill still swings. \n Margie dashes to intervene as Wade swings his arms wide.", "JILL\n Oh.\n\n Wade opens the truck door. Jill climbs in with her overnight \n bag, looks back to the door where Lillian watches.", "JILL\n Yes.\n\n WADE\n Jesus, why?", "Horner opens the car door for Jill, shuts it. Wade shoves \n him:\n\n WADE\n Just wait till we're through, \n goddamnit!", "JILL\n It's not that.\n\n WADE\n What then?\n\n JILL\n It's stupid.", "Wade takes Jill's hand, exits.\n\n CUT TO:\n\n EXT. TOWN HALL - DAY", "JILL\n Yes.\n\n WADE\n That's all you got to say? \"Yes\".\n\n JILL\n Yes.", "In his arms Margie feels trapped, overwhelmed by Wade's \n circumstances and terrible sadness. She pushes:\n\n MARGIE\n (crying)\n Leave me alone! Leave me alone!", "Marg eases Jill into the front seat, closes the door, edges \n around the car slamming the trunk and gets into the driver's \n seat. Wade stands.", "WADE\n Do what?\n\n JILL\n You know.\n\n WADE\n Break stuff?" ] ]

[ "Which holiday did Wade end up meeting his daughter on?", "Who did Jill call to pick her up?", "What did Wade do to his ex-wifes new lover?", "Who is Wade's girlfriend?", "How did Wade's mother die?", "Who does Wade believe is part of a conspiracy?", "Who threatens Wade's life with a rifle?", "What happened to make Jill have a bloody nose?", "Where did Wade possibly flee to after murdering Jack?", "What is Wade's job?", "Why did Wade need a lawyer?", "What did Jack claim happened to the man he was hunting with?", "Who is Wade's girlfriend?", "What killed Wade's mom?", "What did a land developer help Gordon Lariviere do?", "What was Wade physically suffering from?", "Why was Wade fired?", "What did Wade accidentally end up doing to his father?", "Eventually, what did the town become part of?", "Who is Wade's daughter? ", "Why does Wade grow suspicious of the hunting accident?", "Who is Wade's girlfriend? ", "Who abused Wade and Rolfe as children? ", "How did Wade's mother die? ", "Who shoots out Wade's tires? ", "Whose office does Wade trash? ", "Who does Wade attack in front of his daughter? ", "Who does Wade accidentally kill? ", "What happens to Jill after Wade pushes her? " ]

[ [ "Halloween", "Halloween. " ], [ "Her mother", "Her mother. " ], [ "He shoved him against the car", "shoved him against a car" ], [ "Maggie Fogg", "Margie Fogg" ], [ "Hypothermia", "Hypothermia. " ], [ "Jack", "Jack" ], [ "Jack", "Jack" ], [ "Wade pushed her", "Wade pushed her" ], [ "Canada", "Canada" ], [ "He works as a policeman", "A policeman. " ], [ "To get custody of his child.", "To gain custody of his daughter, Jill" ], [ "accidentally shot and killed himself", "That he had accidentally shot himself." ], [ "Margie Fogg.", "Margie Fogg" ], [ "Hypothermia", "hypothermia" ], [ "Buy several properties in town", "buying up property all over town" ], [ "Toothache", "toothache" ], [ "He harasses Jack constantly and thrashed Lariviere's office.", "harassing Jack and trashing Lariviere's office" ], [ "He killed him.", "accidentally killed him during a fight" ], [ "A huge ski resort", "A ski resort. " ], [ "Jill ", "Jill" ], [ "The victim was scheduled to testify in court", "Because the man was supposed to testify in a trial." ], [ "Margie Fogg", "Margie Fogg" ], [ "Their father, Glen Whitehouse", "Glen Whitehouse" ], [ "She died of hypothermia ", "hypothermia" ], [ "Jack", "Jack" ], [ "Larivere ", "Gordon Lariviere" ], [ "A bartender ", "The bartender" ], [ "His father", "His father Glen" ], [ "Her nose bleeds", "She had a bloddy nose" ] ]

[ [ "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "The men gain control of the frightened steeds.\n\t\t\t\t\t ASH\n\t\t\t What's going on?\n\t ARTHUR", "shocked at Ash's cowardly desertion, turns to his men and\n\t shouts:\n\t\t\t\t\t ARTHUR", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "turns to Arthur and in a desperate, cowardly plea:\n\t\t\t\t\t ASH\n\t\t\t Hey, I never even saw these", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "fall to the courtyard. Villagers lift them away on stretchers.\n548\tARTHUR\t\t\t\t\t\t\t\t\t\t\t 548\n\t shouts to Ash:", "SHEILA\n\t\t\t M'Lord Ash! Help me!\n\t The beast flies off with the fair maiden, soaring over the", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "strike a wooden ship that holds the body of Arthur.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t We said goodbye to Arthur. Sure", "He gestures to the Evil Dead that overrun the parapet and now\n\t battle the last twenty of Arthur's warriors for control of the\n\t Keep.", "So you are a vassal of Arthur now?\n\t\t\t You have taken up sides with him\n\t\t\t against me.\n\t\t\t\t\t ASH", "Because after they finish with\n\t\t\t Arthur they'll come after you.\n\t\t\t Together, we've got a chance.", "I pray thee to forgive me. I\n\t\t\t believed thee one of Henry's men.\n\t She touches Ash's hand. Ash turns away", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "removes his sawed off shotgun from Wiseman John's horse and\n\t turns to Arthur, then the crowd.\n\t\t\t\t\t ASH", "166\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t166\n\t sits across the flames from Arthur and his men. She bandages\n\t Ash's wounds.", "which nervously pounds the earth with it's hooves.\n\t\t\t\t\t WARRIOR #1\n\t\t\t Lord Arthur, he is supplied. Now", "stares at him in hatred.\n84\t THE PRISONER NEXT TO ASH\t\t\t\t\t\t\t\t84\n\t eyes Ash curiously. This is Duke Henry the Red." ], [ "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "356\tCHAINS ARE PULLED TIGHT\t\t\t\t\t\t\t\t 356\n\t across the body of Evil Ash to secure it.", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "that compliments his new spring-powered iron hand. His chainsaw\n\t juts from it's saddle holster on the horse's back. Ash's cape", "the hand has grabbed a mallet that BONK-BONKS him on the head.\n\t Ash is groggy as he is grabbed by the hair and yanked down into\n\t the opened vice.", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "yanks her to her feet.\n\t\t\t\t\t EVIL ASH\n\t\t\t Darlin' I'm gonna save him the", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "twisting into a claw, before the flashing thunder clouds.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t So I lopped it off at the wrist.", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "looking up to Evil Ash in fear. His boney finger comes down into\n\t frame and strokes her lovely cheek. She pulls away in\n\t revulsion.", "BLAMMITY-BLAM!\n\t The blast blows Evil Ash off his feet." ], [ "sees Sheila, but looks away, consumed with the guilt that he's\n\t doomed her.\n\t\t\t\t\t ARTHUR", "upon Sheila. Around them, the skeletons sharpen their swords\n\t on tombstones.\n\t\t\t\t\t\t\t\t\t DISSOLVE TO:", "Sheila... It's over for me. I\n\t\t\t don't belong here and I'm going\n\t\t\t home. I didn't have what it took.", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "444\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 444\n\t moves closer.\n\t\t\t\t\t SHEILA", "SHEILA\n\t\t\t Foul thing! A pox on your throat!\n\t\t\t Thou art a Murderer! A black", "extends his arm triggering the tightly wound spring.\n\t WHOOSH! CLANG!\n209\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 209", "184\tSHEILA'S P.O.V. - THE FALLING STONES\t\t\t\t\t 184\n\t coming toward CAMERA.", "walls.\n79\t INT. CASTLE COURTYARD\t\t\t\t\t\t\t\t 79\n\t SHEILA", "183\tTHE FALLING STONE'S P.O.V. - SHEILA\t\t\t\t\t 183\n\t She SCREAMS!", "170\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t170\n\t turn to see...", "looks to the jeering villagers that surround the pit, wondering\n\t what they have in store for him.\n83\t SHEILA\t\t\t\t\t\t\t\t\t\t\t 83", "She pushes through a crowd of villagers and calls up to Arthur\n\t atop his horse.\n\t\t\t\t\t SHEILA", "166\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t166\n\t sits across the flames from Arthur and his men. She bandages\n\t Ash's wounds.", "does a flying leap and tackles SHEILA, knocking her out of the\n\t stone's deadly path.", "557\tEVIL ASH\t\t\t\t\t\t\t\t\t\t\t 557\n\t smiles at Sheila. He turns his attention to the guarded tower\n\t just beyond the parapet.", "167\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 167\n\t is dresses in a revealing tunic. She looks good.\n\t\t\t\t\t SHEILA", "ASH\n\t stares over the castle wall to the foreboding wasteland with\n\t apprehension. The wind blows upon his hair. Sheila appears", "with shovel in hand, drags a bloody burlap bag from the Mill.\n\t Grunting, he pulls the remains of his Evil twin to the base of", "WHINNIE in hear. Sheila steps into frame and stare fearfully\n\t out at the storm." ], [ "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "his iron hand. It's back to normal. Again under his control.\n\t\t\t\t\t ASH\n\t\t\t Okay then.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time.", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "shotgun.\n\t\t\t\t\t ASH\n\t\t\t Go ahead and run. Run home and", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "'least I won't freeze to death.\n\t He turns to a tiny sound.\n274\tWIDE SHOT - ASH\t\t\t\t\t\t\t\t\t 274", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "Easy, boy.\n\t The horse calms. Ash ties it to a tree, patting it's head. A\n\t shadow passes behind him. He turns toward the Mill.", "approach. They sit in tall stone chairs across the fire from\n\t Ash.\n\t\t\t\t\t ASH\n\t\t\t Well what is it? Can you send me", "strike a wooden ship that holds the body of Arthur.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t We said goodbye to Arthur. Sure", "426\tEXT. WOODS - ASH - NIGHT\t\t\t\t\t\t\t\t426\n\t Now far from the danger but still he rides hard.", "ASH\n\t\t\t\t (muttering under his\n\t\t\t\t breath)\n\t\t\t Rest in pieces." ], [ "sees Sheila, but looks away, consumed with the guilt that he's\n\t doomed her.\n\t\t\t\t\t ARTHUR", "SHEILA\n\t\t\t M'Lord Ash! Help me!\n\t The beast flies off with the fair maiden, soaring over the", "does a flying leap and tackles SHEILA, knocking her out of the\n\t stone's deadly path.", "extends his arm triggering the tightly wound spring.\n\t WHOOSH! CLANG!\n209\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 209", "183\tTHE FALLING STONE'S P.O.V. - SHEILA\t\t\t\t\t 183\n\t She SCREAMS!", "444\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 444\n\t moves closer.\n\t\t\t\t\t SHEILA", "looks to the jeering villagers that surround the pit, wondering\n\t what they have in store for him.\n83\t SHEILA\t\t\t\t\t\t\t\t\t\t\t 83", "upon Sheila. Around them, the skeletons sharpen their swords\n\t on tombstones.\n\t\t\t\t\t\t\t\t\t DISSOLVE TO:", "walls.\n79\t INT. CASTLE COURTYARD\t\t\t\t\t\t\t\t 79\n\t SHEILA", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "167\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 167\n\t is dresses in a revealing tunic. She looks good.\n\t\t\t\t\t SHEILA", "grabs Ash, and begins hammering him with her rotted fists.\n116\tABOVE THE PIT - SHEILA\t\t\t\t\t\t\t\t 116", "WHINNIE in hear. Sheila steps into frame and stare fearfully\n\t out at the storm.", "Sheila... It's over for me. I\n\t\t\t don't belong here and I'm going\n\t\t\t home. I didn't have what it took.", "She pushes through a crowd of villagers and calls up to Arthur\n\t atop his horse.\n\t\t\t\t\t SHEILA", "184\tSHEILA'S P.O.V. - THE FALLING STONES\t\t\t\t\t 184\n\t coming toward CAMERA.", "557\tEVIL ASH\t\t\t\t\t\t\t\t\t\t\t 557\n\t smiles at Sheila. He turns his attention to the guarded tower\n\t just beyond the parapet.", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "trouble.\n\t He clutches her squirming body in a boney embrace.", "races to intercept. He plants himself between Sheila and the\n\t beast.\n450\tWINGED DEADITE #1 - POV\t\t\t\t\t\t\t\t 450" ], [ "ignites the fuse and climbs into the car.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I locked the door.", "beside him. The '73 Oldsmobile comes CRASHING to the ground\n\t a moment later.\n20\t ASH\t\t\t\t\t\t\t\t\t\t\t\t 20", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "is switched on. It spews a plume of blue exhaust.\n358\tASH\t\t\t\t\t\t\t\t\t\t\t\t 358", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "ASH\n\t\t\t Okay then.\n\t But he loses his smile as... a LOW RUMBLE is heard on the\n\t soundtrack.", "ASH AND THE BLACKSMITH\n\t look under the hood of the Delta 88, parked in the Blacksmith's\n\t shop.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "fog: It is Ash.\n223\tCLOSER ON ASH\t\t\t\t\t\t\t\t\t\t 223\n\t He whips the horse.", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time.", "226\tEXT. WOODS\t\t\t\t\t\t\t\t\t\t 226\n\t LONG SHOT - ASH\n\t rides slowly on through the darkening woods.", "370\tASH\t\t\t\t\t\t\t\t\t\t\t\t 370\n\t draws closer, his teeth chattering as the wind blasts at him.\n\t He glances down to...", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "walls. Ash is behind the steering wheel.\n482\tINT. CASTLE - BLACKSMITH SHOP - DAY\t\t\t\t\t 482" ], [ "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "through the woods toward the cabin. CAMERA rips through the\n\t cabin door and comes upon a SCREAMING Ash.\n\t\t\t\t\t ASH (V.O.)", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "that compliments his new spring-powered iron hand. His chainsaw\n\t juts from it's saddle holster on the horse's back. Ash's cape", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "BLAMMITY-BLAM!\n\t The blast blows Evil Ash off his feet.", "directs teams of skeletons to dig at the graves.\n\t\t\t\t\t EVIL ASH\n\t\t\t Dig! Dig faster! I want every black", "looking up to Evil Ash in fear. His boney finger comes down into\n\t frame and strokes her lovely cheek. She pulls away in\n\t revulsion.", "decayed version of EVIL ASH!\n423\tEXT. MILL - NIGHT\t\t\t\t\t\t\t\t\t 423\n\t ASH", "walls. Ash is behind the steering wheel.\n482\tINT. CASTLE - BLACKSMITH SHOP - DAY\t\t\t\t\t 482", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks" ], [ "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "cross to form a scissor lock around the Deadite's throat. He\n\t flips the beast.", "raises the chainsaw blade and neatly bisects the falling deadite\n\t hand. He spins and with a roundhouse blow...", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "Smoking skeletons lay scattered. Henry and Arthur's Warriors\n\t work together. They toss the deadite bones and armor into a\n\t bonfire.", "BLAMMITY-BLAM!\n\t The blast blows Evil Ash off his feet.", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat.", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "leaps upon the shotgun's trigger. BOOM!\n294\tASH\t\t\t\t\t\t\t\t\t\t\t\t 294", "pours out of Ash's chainsaw over some logs in the stove's belly.\n273\tASH\t\t\t\t\t\t\t\t\t\t\t\t 273", "275\tASH\t\t\t\t\t\t\t\t\t\t\t\t 275\n\t spins, raises his shotgun and fires.\n\t BLAMITY-BLAM!", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "BLAMMITY-BLAM!\n\t ...blows her off the craft. She does a back flip into the other\n\t Deadites.", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in" ], [ "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "walls. Ash is behind the steering wheel.\n482\tINT. CASTLE - BLACKSMITH SHOP - DAY\t\t\t\t\t 482", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "285\tASH'S P.O.V. THROUGH THE MILL'S OPEN DOOR\t\t\t\t 285\n\t He sees am image of himself inside the Mill. Peering out.", "Shed, spinning head over heels. Ash rips through other doors,\n\t taking them with him. Ash is now sandwiched between two doors\n\t as he flies through the air.", "265\tINT. MILL\t\t\t\t\t\t\t\t\t\t\t265\n\t ASH\n\t enters the Mill.\n\t\t\t\t\t ASH", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "306\tASH\t\t\t\t\t\t\t\t\t\t\t\t 306\n\t has seen him. He \"accidentally\" elbows the log and Tiny Ash", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "years...Because of you...we are\n\t\t\t doomed.\n\t\t\t\t\t ASH\n\t\t\t You wanted the damn book. You got", "ASH\n\t\t\t Okay then.\n\t But he loses his smile as... a LOW RUMBLE is heard on the\n\t soundtrack.", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "He considers.\n202\tINT. CASTLE - BLACKSMITH'S WORKSHOP - DAY\t\t\t\t 202\n\t Ash and the blacksmith step into the shop.", "ASH\n\t\t\t I can't see ya!!\n\t HIS EVIL HAND\n\t raises a red hot fireplace poker and presses it against the", "CAMERA PULLS BACK from a stunned Ash, amidst the atomized pieces\n\t of iron and bone.\n\t\t\t\t\t ASH", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time." ], [ "The men gain control of the frightened steeds.\n\t\t\t\t\t ASH\n\t\t\t What's going on?\n\t ARTHUR", "turns to Arthur and in a desperate, cowardly plea:\n\t\t\t\t\t ASH\n\t\t\t Hey, I never even saw these", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "shocked at Ash's cowardly desertion, turns to his men and\n\t shouts:\n\t\t\t\t\t ARTHUR", "removes his sawed off shotgun from Wiseman John's horse and\n\t turns to Arthur, then the crowd.\n\t\t\t\t\t ASH", "is silent as they consider Ash's words. Then from the rear, the\n\t Village Blacksmith steps forward.\n\t\t\t\t\t BLACKSMITH", "I pray thee to forgive me. I\n\t\t\t believed thee one of Henry's men.\n\t She touches Ash's hand. Ash turns away", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "which nervously pounds the earth with it's hooves.\n\t\t\t\t\t WARRIOR #1\n\t\t\t Lord Arthur, he is supplied. Now", "He gestures to the Evil Dead that overrun the parapet and now\n\t battle the last twenty of Arthur's warriors for control of the\n\t Keep.", "166\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t166\n\t sits across the flames from Arthur and his men. She bandages\n\t Ash's wounds.", "stares at him in hatred.\n84\t THE PRISONER NEXT TO ASH\t\t\t\t\t\t\t\t84\n\t eyes Ash curiously. This is Duke Henry the Red.", "strike a wooden ship that holds the body of Arthur.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t We said goodbye to Arthur. Sure", "fall to the courtyard. Villagers lift them away on stretchers.\n548\tARTHUR\t\t\t\t\t\t\t\t\t\t\t 548\n\t shouts to Ash:", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "pointing the barrel just past Arthur. He, but no one else, has\n\t spotted the surviving Second Deadite crawling up from the pit\n\t on the forgotten chain.", "lifts his iron visor and evaluates Ash.\n26\t ARTHUR'S P.O.V.\t\t\t\t\t\t\t\t\t 26", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body" ], [ "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "yanks her to her feet.\n\t\t\t\t\t EVIL ASH\n\t\t\t Darlin' I'm gonna save him the", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "cross to form a scissor lock around the Deadite's throat. He\n\t flips the beast.", "raises the chainsaw blade and neatly bisects the falling deadite\n\t hand. He spins and with a roundhouse blow...", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "propelled by his four arms and four legs. Suddenly he stands\n\t and SHRIEKS as the EVIL ASH begins to pull away from the first.\n\t He literally splits into two.", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "134\tASH WITH HIS CHAINSAW\t\t\t\t\t\t\t\t 134\n\t He lands on his feet, in the path of the approaching beast.\n\t\t\t\t\t ASH", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "through the woods toward the cabin. CAMERA rips through the\n\t cabin door and comes upon a SCREAMING Ash.\n\t\t\t\t\t ASH (V.O.)", "looking up to Evil Ash in fear. His boney finger comes down into\n\t frame and strokes her lovely cheek. She pulls away in\n\t revulsion." ], [ "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "yanks her to her feet.\n\t\t\t\t\t EVIL ASH\n\t\t\t Darlin' I'm gonna save him the", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "the Necronomicon. A flask is dipped into the liquid.\n\t WISEMAN JOHN\n\t hands the flask of liquid to Ash.", "he slices the hand that holds the Necronomicon from Skeleton\n\t Ash.\n614\tASH\t\t\t\t\t\t\t\t\t\t\t\t 614", "directs teams of skeletons to dig at the graves.\n\t\t\t\t\t EVIL ASH\n\t\t\t Dig! Dig faster! I want every black", "grabs the Necronomicon, then swings his sword at Ash.\n597\tASH\t\t\t\t\t\t\t\t\t\t\t\t 597", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH" ], [ "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "288\tTHE SHATTERED MIRROR PIECES\t\t\t\t\t\t\t 288\n\t Each piece of mirror reflects an image of Ash. From the eight", "of his Evil Twin onto a workbench at the base of the windmill.\n\t The giant blades of the mill arc down into frame with a WHOOSH-", "285\tASH'S P.O.V. THROUGH THE MILL'S OPEN DOOR\t\t\t\t 285\n\t He sees am image of himself inside the Mill. Peering out.", "Shed, spinning head over heels. Ash rips through other doors,\n\t taking them with him. Ash is now sandwiched between two doors\n\t as he flies through the air.", "twisting into a claw, before the flashing thunder clouds.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t So I lopped it off at the wrist.", "Easy, boy.\n\t The horse calms. Ash ties it to a tree, patting it's head. A\n\t shadow passes behind him. He turns toward the Mill.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "pieces of mirror spring...\n289\tEIGHT TINY ASHES\t\t\t\t\t\t\t\t\t 289\n\t Two inch high versions of himself. They leap from the mirror", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "ASH\n\t stares over the castle wall to the foreboding wasteland with\n\t apprehension. The wind blows upon his hair. Sheila appears", "stumbles over a broom handle that has been thrust out in front\n\t of him by other tiny ASHES. His head slams into a stove pipe.", "An empty place of stone and wood. Driven by the wind, the\n\t Mill's giant grinding wheel slowly turns with a squeak.", "propelled by his four arms and four legs. Suddenly he stands\n\t and SHRIEKS as the EVIL ASH begins to pull away from the first.\n\t He literally splits into two.", "He deliberately muffles the last word that he can't remember.\n\t The wind stops. It seems to have worked. He looks about with\n\t growing confidence.", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "The window is ripped away in a shower of glass.\n276\tASH'S P.O.V. - THROUGH THE BROKEN WINDOW\t\t\t\t 276", "286\tEXT. MILL\t\t\t\t\t\t\t\t\t\t\t286\n\t ASH\n\t stares in disbelief, then the wind slams the front door of the", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312" ], [ "bring their swords together with such great force that sparks\n\t fly. Ash is forced back against the stone pedestal that holds\n\t the Necronomicon.", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "the Necronomicon. A flask is dipped into the liquid.\n\t WISEMAN JOHN\n\t hands the flask of liquid to Ash.", "he slices the hand that holds the Necronomicon from Skeleton\n\t Ash.\n614\tASH\t\t\t\t\t\t\t\t\t\t\t\t 614", "I first saw the damn thing at that\n\t\t\t blasted cabin. The Necronomicon.\n\t\t\t An ancient Sumarrian text, bound", "grabs the Necronomicon, then swings his sword at Ash.\n597\tASH\t\t\t\t\t\t\t\t\t\t\t\t 597", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "He extends the Necronomicon to taunt Ash.\n\t\t\t\t\t SKELETON ASH\n\t\t\t I possess the Necronomicon. I've", "When you removed the Necronomicon\n\t\t\t from it's cradle, did you speak\n\t\t\t the words?", "394\tASH\t\t\t\t\t\t\t\t\t\t\t\t 394\n\t faces the remaining book. He slowly reaches for it as the wind", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "Huh.\n\t Ash reaches for it again and the book bites him!\n390\tTHE BOOK OF THE DEAD - PUPPET\t\t\t\t\t\t\t390", "As it swoops at Ash.\n451\tASH\t\t\t\t\t\t\t\t\t\t\t\t 451\n\t opens his steel hand, then clamps it closed again on the handle", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time." ], [ "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "He extends the Necronomicon to taunt Ash.\n\t\t\t\t\t SKELETON ASH\n\t\t\t I possess the Necronomicon. I've", "the Necronomicon. A flask is dipped into the liquid.\n\t WISEMAN JOHN\n\t hands the flask of liquid to Ash.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "grabs the Necronomicon, then swings his sword at Ash.\n597\tASH\t\t\t\t\t\t\t\t\t\t\t\t 597", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "Now. Will thou quest for the\n\t\t\t Necronomicon?\n201\tCLOSE ON ASH\t\t\t\t\t\t\t\t\t\t 201", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "bring their swords together with such great force that sparks\n\t fly. Ash is forced back against the stone pedestal that holds\n\t the Necronomicon.", "I first saw the damn thing at that\n\t\t\t blasted cabin. The Necronomicon.\n\t\t\t An ancient Sumarrian text, bound", "You are now my captain. I will\n\t\t\t now allow anything to stop me from\n\t\t\t possessing the Necronomicon. Get", "he slices the hand that holds the Necronomicon from Skeleton\n\t Ash.\n614\tASH\t\t\t\t\t\t\t\t\t\t\t\t 614", "We have waited long years for you.\n\t\t\t Out only hope is the Necronomicon.\n\t\t\t Thou must undertake to quest for", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "through the woods toward the cabin. CAMERA rips through the\n\t cabin door and comes upon a SCREAMING Ash.\n\t\t\t\t\t ASH (V.O.)" ], [ "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "beside him. The '73 Oldsmobile comes CRASHING to the ground\n\t a moment later.\n20\t ASH\t\t\t\t\t\t\t\t\t\t\t\t 20", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "ASH AND THE BLACKSMITH\n\t look under the hood of the Delta 88, parked in the Blacksmith's\n\t shop.", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat.", "cross to form a scissor lock around the Deadite's throat. He\n\t flips the beast.", "Oldsmobile are sucked up into the funnel cloud.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t ...I just didn't plan on coming", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "573\tTHE STEAM DRIVEN ROTOR BLADES\t\t\t\t\t\t\t573\n\t slicing through two Deadites at once. The cow-catcher in front", "grabs the Necronomicon, then swings his sword at Ash.\n597\tASH\t\t\t\t\t\t\t\t\t\t\t\t 597", "Smoking skeletons lay scattered. Henry and Arthur's Warriors\n\t work together. They toss the deadite bones and armor into a\n\t bonfire.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "The stripped chaise of the Delta 88 Oldsmobile. A steam engine\n\t is mounted to it's center to power the craft. At the front and", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!" ], [ "the Necronomicon. A flask is dipped into the liquid.\n\t WISEMAN JOHN\n\t hands the flask of liquid to Ash.", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "A CHEER goes up within the castle courtyard as Henry's Warriors\n\t crush the last of the Deadites.\n\t\t\t\t\t\t\t\t\t DISSOLVE TO:", "Smoking skeletons lay scattered. Henry and Arthur's Warriors\n\t work together. They toss the deadite bones and armor into a\n\t bonfire.", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "backward, barely avoiding the beast's wild swing. Ash squints\n\t to discern Wiseman John throwing something down to him: an\n\t object falling at him through the glare above.", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "We did strike a bargain. I will\n\t\t\t return you to your own time as\n\t\t\t promised.\n\t\t\t\t\t ASH", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "bring their swords together with such great force that sparks\n\t fly. Ash is forced back against the stone pedestal that holds\n\t the Necronomicon.", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!" ], [ "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "We did strike a bargain. I will\n\t\t\t return you to your own time as\n\t\t\t promised.\n\t\t\t\t\t ASH", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "his iron hand. It's back to normal. Again under his control.\n\t\t\t\t\t ASH\n\t\t\t Okay then.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "a somewhat flattened Ash who picks his groggy and bruised self\n\t up.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "CAMERA PULLS BACK from a stunned Ash, amidst the atomized pieces\n\t of iron and bone.\n\t\t\t\t\t ASH", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "285\tASH'S P.O.V. THROUGH THE MILL'S OPEN DOOR\t\t\t\t 285\n\t He sees am image of himself inside the Mill. Peering out.", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time.", "Easy, boy.\n\t The horse calms. Ash ties it to a tree, patting it's head. A\n\t shadow passes behind him. He turns toward the Mill.", "He considers.\n202\tINT. CASTLE - BLACKSMITH'S WORKSHOP - DAY\t\t\t\t 202\n\t Ash and the blacksmith step into the shop." ], [ "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "through the woods toward the cabin. CAMERA rips through the\n\t cabin door and comes upon a SCREAMING Ash.\n\t\t\t\t\t ASH (V.O.)", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "propelled by his four arms and four legs. Suddenly he stands\n\t and SHRIEKS as the EVIL ASH begins to pull away from the first.\n\t He literally splits into two.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "the pit.\n136\tTHE PIT - LOW ANGLE - THE DEADITE\t\t\t\t\t\t 136\n\t lunges at Ash.", "looking up to Evil Ash in fear. His boney finger comes down into\n\t frame and strokes her lovely cheek. She pulls away in\n\t revulsion.", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "455\tTHE FLYING DEADITE\t\t\t\t\t\t\t\t\t 455\n\t shrieks in pain as it soars over Ash. No longer aerodynamically", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat." ], [ "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "Shed, spinning head over heels. Ash rips through other doors,\n\t taking them with him. Ash is now sandwiched between two doors\n\t as he flies through the air.", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "285\tASH'S P.O.V. THROUGH THE MILL'S OPEN DOOR\t\t\t\t 285\n\t He sees am image of himself inside the Mill. Peering out.", "Swallow six drops, and thou shalt\n\t\t\t awaken in thine own time.\n\t\t\t\t\t ASH (V.O.)", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "that's when it hits. LIKE A LOCOMOTIVE!\n\t Ash and the door he braces are blasted away from the wall of", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "TRACKING WITH ASH AND THE DOOR\n\t as they are swept up at super speed in the grip of the Evil\n\t Force. Ash is seen rocketing through the long hallway of the", "226\tEXT. WOODS\t\t\t\t\t\t\t\t\t\t 226\n\t LONG SHOT - ASH\n\t rides slowly on through the darkening woods.", "fog: It is Ash.\n223\tCLOSER ON ASH\t\t\t\t\t\t\t\t\t\t 223\n\t He whips the horse.", "strike a wooden ship that holds the body of Arthur.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t We said goodbye to Arthur. Sure", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "as he gallops past. The Warrior is sent reeling.\n37\t TRUCKING SHOT - ASH\t\t\t\t\t\t\t\t\t37", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312" ], [ "He is general of the army of Deadites. He thrusts a rusted sword\n\t into the air and shouts in a gritty voice:\n\t\t\t\t\t EVIL ASH", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "directs teams of skeletons to dig at the graves.\n\t\t\t\t\t EVIL ASH\n\t\t\t Dig! Dig faster! I want every black", "propelled by his four arms and four legs. Suddenly he stands\n\t and SHRIEKS as the EVIL ASH begins to pull away from the first.\n\t He literally splits into two.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "Ash flips through the pages from the BOOK OF THE DEAD.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t The book awoke something dark in", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "with a bundle wrapped in cloth.\n123\tTHE DEADITE\t\t\t\t\t\t\t\t\t\t 123\n\t grabs Ash by the throat.", "cross to form a scissor lock around the Deadite's throat. He\n\t flips the beast.", "Book of the Dead but Ash scoops it up first. He leaps over\n\t another set of groping arms that rip from the ground!", "races to a set of ropes and pulley that ascend the parapet. Two\n\t deadites come at him. He grabs the rope with his steel hand and", "that shines against the white of the bone. He stands and joins\n\t the Deadites.\n577\tEVIL SHEILA\t\t\t\t\t\t\t\t\t\t 577", "earth.\n422\tEVIL ASH'S BODY PARTS\t\t\t\t\t\t\t\t 422\n\t fly up from the grave and assemble themselves into a lopsided,", "455\tTHE FLYING DEADITE\t\t\t\t\t\t\t\t\t 455\n\t shrieks in pain as it soars over Ash. No longer aerodynamically", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "507\tA SKELETON AND DEADITE CAPTAIN\t\t\t\t\t\t 507\n\t ride alongside Evil Ash and salute him sharply.", "the Army of the Dead was awoke.\n\t\t\t\t\t ASH\n\t\t\t Hey. We had a deal. You told me,", "Smoking skeletons lay scattered. Henry and Arthur's Warriors\n\t work together. They toss the deadite bones and armor into a\n\t bonfire.", "pointing the barrel just past Arthur. He, but no one else, has\n\t spotted the surviving Second Deadite crawling up from the pit\n\t on the forgotten chain." ], [ "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "The men gain control of the frightened steeds.\n\t\t\t\t\t ASH\n\t\t\t What's going on?\n\t ARTHUR", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "his iron hand. It's back to normal. Again under his control.\n\t\t\t\t\t ASH\n\t\t\t Okay then.", "the hand has grabbed a mallet that BONK-BONKS him on the head.\n\t Ash is groggy as he is grabbed by the hair and yanked down into\n\t the opened vice.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "unsheathe their broadswords and gallop after Ash. The remaining\n\t Warriors watch for sport.", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "We did strike a bargain. I will\n\t\t\t return you to your own time as\n\t\t\t promised.\n\t\t\t\t\t ASH", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "last out and snag Ash's tongue between their boney pincers,\n\t shutting Ash up. With his tongue held, he tries to speak again,", "halt. Iron keys rattle. The shackles are unlocked. Ash and the\n\t prisoners rub their reddened wrists. They are pushed at", "backward, barely avoiding the beast's wild swing. Ash squints\n\t to discern Wiseman John throwing something down to him: an\n\t object falling at him through the glare above.", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "turns around and gallops back toward Ash.\n58\t WIDE SHOT - ASH AND THE SECOND HORSEMAN\t\t\t\t\t58\n\t ride at one another." ], [ "does a flying leap and tackles SHEILA, knocking her out of the\n\t stone's deadly path.", "SHEILA\n\t\t\t M'Lord Ash! Help me!\n\t The beast flies off with the fair maiden, soaring over the", "sees Sheila, but looks away, consumed with the guilt that he's\n\t doomed her.\n\t\t\t\t\t ARTHUR", "looks to the jeering villagers that surround the pit, wondering\n\t what they have in store for him.\n83\t SHEILA\t\t\t\t\t\t\t\t\t\t\t 83", "extends his arm triggering the tightly wound spring.\n\t WHOOSH! CLANG!\n209\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 209", "183\tTHE FALLING STONE'S P.O.V. - SHEILA\t\t\t\t\t 183\n\t She SCREAMS!", "grabs Ash, and begins hammering him with her rotted fists.\n116\tABOVE THE PIT - SHEILA\t\t\t\t\t\t\t\t 116", "walls.\n79\t INT. CASTLE COURTYARD\t\t\t\t\t\t\t\t 79\n\t SHEILA", "upon Sheila. Around them, the skeletons sharpen their swords\n\t on tombstones.\n\t\t\t\t\t\t\t\t\t DISSOLVE TO:", "EVIL ASH AND SHEILA\n\t ride side by side on skeletal steeds. Sheila lifts her black\n\t veil, revealing bone white eyes, set into a face now the texture", "557\tEVIL ASH\t\t\t\t\t\t\t\t\t\t\t 557\n\t smiles at Sheila. He turns his attention to the guarded tower\n\t just beyond the parapet.", "She pushes through a crowd of villagers and calls up to Arthur\n\t atop his horse.\n\t\t\t\t\t SHEILA", "444\tSHEILA\t\t\t\t\t\t\t\t\t\t\t 444\n\t moves closer.\n\t\t\t\t\t SHEILA", "races to intercept. He plants himself between Sheila and the\n\t beast.\n450\tWINGED DEADITE #1 - POV\t\t\t\t\t\t\t\t 450", "are quickly overcome.\n556\tEVIL SHEILA\t\t\t\t\t\t\t\t\t\t 556\n\t takes out the last of the stranded warriors with her sword.", "WHINNIE in hear. Sheila steps into frame and stare fearfully\n\t out at the storm.", "166\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t166\n\t sits across the flames from Arthur and his men. She bandages\n\t Ash's wounds.", "Sheila... It's over for me. I\n\t\t\t don't belong here and I'm going\n\t\t\t home. I didn't have what it took.", "184\tSHEILA'S P.O.V. - THE FALLING STONES\t\t\t\t\t 184\n\t coming toward CAMERA.", "trouble.\n\t He clutches her squirming body in a boney embrace." ], [ "124\tTHE PIT - A BLOODIED ASH\t\t\t\t\t\t\t\t124\n\t is thrown against the rock wall of the pit.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "604\tTHE SKELETON\t\t\t\t\t\t\t\t\t\t 604\n\t gives Ash a backwards roundhouse kick to the face. Ash tumbles\n\t over the edge.", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "backward, barely avoiding the beast's wild swing. Ash squints\n\t to discern Wiseman John throwing something down to him: an\n\t object falling at him through the glare above.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "the pit.\n136\tTHE PIT - LOW ANGLE - THE DEADITE\t\t\t\t\t\t 136\n\t lunges at Ash.", "102\tASH\t\t\t\t\t\t\t\t\t\t\t\t 102\n\t tumbles down into the pit. He lands in a STEAMING pool of foul", "swings his sword. Ash leaps over the blade. The Skeleton swings\n\t downward, and Ash side steps it.", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "101\tTHE WARRIORS\t\t\t\t\t\t\t\t\t\t 101\n\t grab Ash and shove him into the pit.", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "the hand has grabbed a mallet that BONK-BONKS him on the head.\n\t Ash is groggy as he is grabbed by the hair and yanked down into\n\t the opened vice.", "hand free from his face, tossing it back down into the pit.\n142\tTHE PIT - ASH\t\t\t\t\t\t\t\t\t\t 142", "throat, trying to make himself vomit up the little man, to no\n\t avail.\n\t He looks about to crush some of the little ASHES but they are", "149\tASH'S CHAINSAW ARM\t\t\t\t\t\t\t\t\t 149\n\t comes up, over the edge of the pit. Followed by... THUMP! Ash's", "as he's thrown down into the pit. He disappears into the\n\t blackness." ], [ "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH", "his iron hand. It's back to normal. Again under his control.\n\t\t\t\t\t ASH\n\t\t\t Okay then.", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "bring their swords together with such great force that sparks\n\t fly. Ash is forced back against the stone pedestal that holds\n\t the Necronomicon.", "bloody hand. Then his bruised face. Covered in the black blood\n\t of the Deadites. He crawls to his feet.\n\t Ash tuns to the crowd, his list clenched.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "along.\n11\t EXT. CABIN - NIGHT\t\t\t\t\t\t\t\t\t 11\n\t Ash, now armed with shotgun and chainsaw, is swallowed by the", "finishes digging and lifts the bloody burlap sack. As he heaves\n\t the bag into the grave, the Evil Ash head spills out.", "As it swoops at Ash.\n451\tASH\t\t\t\t\t\t\t\t\t\t\t\t 451\n\t opens his steel hand, then clamps it closed again on the handle", "swings his sword. Ash leaps over the blade. The Skeleton swings\n\t downward, and Ash side steps it.", "plummet down atop the two deadites, crushing them.\n\t Simultaneously, Ash is tanked upward by the rope, to the\n\t parapet.", "backward, barely avoiding the beast's wild swing. Ash squints\n\t to discern Wiseman John throwing something down to him: an\n\t object falling at him through the glare above.", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "a somewhat flattened Ash who picks his groggy and bruised self\n\t up." ], [ "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "descended on this land.\n\t\t\t\t\t ASH\n\t\t\t They're mistaken.\n\t She stares deeply into his eyes.", "ASH\n\t stares over the castle wall to the foreboding wasteland with\n\t apprehension. The wind blows upon his hair. Sheila appears", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "I pray thee to forgive me. I\n\t\t\t believed thee one of Henry's men.\n\t She touches Ash's hand. Ash turns away", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "stares at him in hatred.\n84\t THE PRISONER NEXT TO ASH\t\t\t\t\t\t\t\t84\n\t eyes Ash curiously. This is Duke Henry the Red.", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "472\tEVIL ASH\t\t\t\t\t\t\t\t\t\t\t 472\n\t looks down at her with lust.\n\t\t\t\t\t EVIL ASH", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "looking up to Evil Ash in fear. His boney finger comes down into\n\t frame and strokes her lovely cheek. She pulls away in\n\t revulsion.", "digs into Ash's mouth. It jerks his face sideways to show\n\t him...", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "Easy, boy.\n\t The horse calms. Ash ties it to a tree, patting it's head. A\n\t shadow passes behind him. He turns toward the Mill.", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "166\tASH AND SHEILA\t\t\t\t\t\t\t\t\t\t166\n\t sits across the flames from Arthur and his men. She bandages\n\t Ash's wounds.", "369\tASH'S P.O.V. - THE CEMETERY\t\t\t\t\t\t\t 369\n\t In the center, lies a massive slab of black stone.", "285\tASH'S P.O.V. THROUGH THE MILL'S OPEN DOOR\t\t\t\t 285\n\t He sees am image of himself inside the Mill. Peering out." ], [ "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "place and return you to your time.\n\t\t\t\t\t ASH\n\t\t\t The Necronomicon. Yeah, that's", "ASH\n\t\t\t Nothing. Here\n\t Ash produces the Necronomicon.\n\t\t\t Now send be back. Like in the", "We did strike a bargain. I will\n\t\t\t return you to your own time as\n\t\t\t promised.\n\t\t\t\t\t ASH", "you send me back. That's the deal.\n\t\t\t After that I'm history.\n\t Ash rears up on his horse and gallops into the mist", "his iron hand. It's back to normal. Again under his control.\n\t\t\t\t\t ASH\n\t\t\t Okay then.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "strike a wooden ship that holds the body of Arthur.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t We said goodbye to Arthur. Sure", "imbeds in Evil Ash's leg and ignites his body. Another flaming\n\t dart hits his shoulder blade. The flames consume his body. He\n\t burns and SHRIEKS!", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "backward, barely avoiding the beast's wild swing. Ash squints\n\t to discern Wiseman John throwing something down to him: an\n\t object falling at him through the glare above.", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "last out and snag Ash's tongue between their boney pincers,\n\t shutting Ash up. With his tongue held, he tries to speak again,", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "stabbing Arthur. He is yanked to his death with a shriek! Evil\n\t Ash, with his bloody sword, leaps up from the ladder and onto", "grab the beast and pull it off of Ash. Arthur comes to meet\n\t them. He carries a double-bladed battle axe.", "Swallow six drops, and thou shalt\n\t\t\t awaken in thine own time.\n\t\t\t\t\t ASH (V.O.)", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "Bring the prisoner!\n\t The warriors surge upon Ash. His sawed-off shotgun and chainsaw\n\t are taken from him.\n\t\t\t\t\t ASH" ], [ "ignites the fuse and climbs into the car.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I locked the door.", "beside him. The '73 Oldsmobile comes CRASHING to the ground\n\t a moment later.\n20\t ASH\t\t\t\t\t\t\t\t\t\t\t\t 20", "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "is switched on. It spews a plume of blue exhaust.\n358\tASH\t\t\t\t\t\t\t\t\t\t\t\t 358", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "ASH AND THE BLACKSMITH\n\t look under the hood of the Delta 88, parked in the Blacksmith's\n\t shop.", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "ASH\n\t\t\t Okay then.\n\t But he loses his smile as... a LOW RUMBLE is heard on the\n\t soundtrack.", "The Delta 88 Oldsmobile. The chainsaw, strapped to Ash's back.\n\t The handless stump of Ash's right arm. The Shotgun.", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "fog: It is Ash.\n223\tCLOSER ON ASH\t\t\t\t\t\t\t\t\t\t 223\n\t He whips the horse.", "cave.\n\t He sets the horse free.\n\t\t\t\t\t ASH\n\t\t\t YAHH!!\n\t It gallops off.", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "226\tEXT. WOODS\t\t\t\t\t\t\t\t\t\t 226\n\t LONG SHOT - ASH\n\t rides slowly on through the darkening woods.", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time.", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "370\tASH\t\t\t\t\t\t\t\t\t\t\t\t 370\n\t draws closer, his teeth chattering as the wind blasts at him.\n\t He glances down to...", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)" ], [ "This is Ash, mid twenties, square jaw firmly set and a pair of\n\t haunted eyes which dart about quickly in fear. Ash speaks to\n\t the CAMERA with urgency:", "nestled in a dark forest. Through the window, we see the tiny\n\t figure of Ash picking up a book from a desk.\n\t\t\t\t\t ASH (V.O.)", "Ash is rocketing through a funnel of swirling clouds. He is\n\t swept away from us, hand over foot, through the dark void of\n\t Time.", "charges his horse at Ash. But he is met with the wooden stock\n\t of Ash's shotgun as it swings into frame, cracking against his\n\t jaw.", "behind him. She drapes a grey garment over Ash. A magnificent\n\t cape. Ash draws her body close to his. He wraps the cape around", "and hits his head on the stone floor. BLACKNESS.\n312\tASH\t\t\t\t\t\t\t\t\t\t\t\t 312", "Easy, boy.\n\t The horse calms. Ash ties it to a tree, patting it's head. A\n\t shadow passes behind him. He turns toward the Mill.", "walls. Ash is behind the steering wheel.\n482\tINT. CASTLE - BLACKSMITH SHOP - DAY\t\t\t\t\t 482", "The giant blades of the Mill are illuminated with bright flashes\n\t of lightning. The wind kicks up leaves as Ash throws the body", "a human body flashes briefly and is gone. A moment latter, Ash\n\t appears and tumbles from the sky, falling past CAMERA.", "He considers.\n202\tINT. CASTLE - BLACKSMITH'S WORKSHOP - DAY\t\t\t\t 202\n\t Ash and the blacksmith step into the shop.", "rides off.\n\t\t\t\t\t ASH (V.O.)\n\t\t\t I had to find a place to crash.\n\t\t\t For a very long time.", "265\tINT. MILL\t\t\t\t\t\t\t\t\t\t\t265\n\t ASH\n\t enters the Mill.\n\t\t\t\t\t ASH", "is silent as they consider Ash's words. Then from the rear, the\n\t Village Blacksmith steps forward.\n\t\t\t\t\t BLACKSMITH", "Shed, spinning head over heels. Ash rips through other doors,\n\t taking them with him. Ash is now sandwiched between two doors\n\t as he flies through the air.", "races through the door and toward CAMERA when...SMASH...Ash's\n\t reflection shatters. He's run into a mirror. Shivering, he picks", "Ash.\n283\tA STARTLED ASH\t\t\t\t\t\t\t\t\t\t283\n\t leaps aside just in time.", "The chainsaw dies. He jerks out his arm to restart it. Putt.\n\t Putt.\n\t\t\t\t\t ASH", "He lets six drops fall into his mouth. One for each century\n\t he must sleep.\n\t\t\t\t\t ASH (V.O.)", "ASH\n\t stares over the castle wall to the foreboding wasteland with\n\t apprehension. The wind blows upon his hair. Sheila appears" ] ]

[ "Why did Ash Williams get taken by Lord Arthur's men?", "What was taken from Ash Williams when he was captured?", "Who is Sheila's brother?", "What does Ash need to get to go back home?", "What captures Sheila?", "What type of car does Ash have?", "Where does Ash Williams work present day?", "What does Ash use to kill the deadite in his store?", "What department does Ash work in present day?", "Who do Lord Arthur's men suspect Ash Williams of working for?", "What does Ash Williams do after escaping capture that proves he is a hero?", "What does Ash Williams have to search for in order to go back to his time?", "What is created by the mirror Ash breaks while trying to hide in a windmill?", "What does Ash forget when he finds the Necronomicon Ex-Mortis that prevents him from removing it safely?", "After finding the Necronomicon Ex-Mortis, Ash wants to immediately be sent back home and escape the impending battle, but what changes his mind?", "What does Ash take from his 1973 Oldsmobile Delta 88 to use in the fight against the Deadites?", "After the battle against the Deadites has been won, what do the Wise Men give Ash to return him to his time?", "Where does Ash return to work once he gets back to his time?", "As Ash recounts his story to a customer in his store, \"S-Mart\", what enters the store and begins attacking customers?", "What tranports Ash through time?", "What does Ash's clone unite the deadites into?", "Who's men captures Ash after he goes back in time?", "Who captures Sheila?", "Who does Ash fight after being thrown in the pit?", "Who does Ash regain his weapons from?", "Who is Ash attracted to?", "What does Ash have to retrieve in order to return to his time?", "What kind of car does Ash have?", "Where does Ash work?" ]

[ [ "He is thought to work for Duke Henry.", "They think he's an agent for Duke Henry" ], [ "His gun and chainsaw.", "Gun and chainsaw" ], [ "A fallen knight.", "one of Arthur's fallen knights" ], [ "The Necronomicon Ex-Mortis.", "A book with magical powers. " ], [ "A Flying Deadite.", "A flying Deadite" ], [ "Oldsmobile Delta.", "A 1973 Oldsmobile Delta 88 " ], [ "S-Mart.", "S-Mart" ], [ "A rifle.", "A Winchester rifle " ], [ "Houseware.", "Housewares." ], [ "Duke Henry", "Duke Henry " ], [ "Killing a Deadite in front of everyone", "He kills a deadite in front of everyone " ], [ "Necronomicon Ex-Mortis", "Retrieve the Necronomicon Ex-Mortis" ], [ "An evil clone of himself", "A clone of himself " ], [ "The last word in the spell", "The last word" ], [ "Sheila is captured by a Deadite", "Sheila is captured" ], [ "Science textbooks", "scientific knowledge from text books" ], [ "A magic potion", "A potion" ], [ "A housewares store called \"S-Mart\"", "At S-Mart " ], [ "A surviving Deadite", "A deadite." ], [ "a time portal", "A time portal" ], [ "the army of darkness", "An Army of Darkness." ], [ "Lord Arthur's", "Lord Arthur" ], [ "a flying deadite", "A Flyinf Deadite." ], [ "a deadite", "A deadite " ], [ "Arthur's wise men", "Arthur's wise man " ], [ "Sheila", "Sheila" ], [ "the necronomicon ex-mortis", "Necronomicon ex-mortis" ], [ "Oldsmobile Delta", "A 73 Oldsmobile Delta 88 " ], [ "S-mart", "S-Mart" ] ]

[ [ "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "ANDY DUFRESNE \n\n\tis on the witness stand, hands folded, suit and tie pressed, \n\thair meticulously combed. He speaks in soft, measured tones:", "RED (V.O.) \n\t\tHis first night in the joint, Andy \n\t\tDufresne cost me two packs of \n\t\tcigarettes. He never made a sound...", "RED (V.O.) \n\t\tSo when Andy Dufresne came to me in \n\t\t1949 and asked me to smuggle Rita", "on the other side. Andy Dufresne, \n\t\theaded for the Pacific.", "RED (V.O.) \n\t\tIn 1966, Andy Dufresne escaped from \n\t\tShawshank Prison.", "that bullet...was to wonder how the \n\t\thell Andy Dufresne ever got the \n\t\tbest of him.", "ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. \n\tUnder normal circumstances a respectable, solid citizen; hardly", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "RED (V.O.) \n\t\tAndy Dufresne, who crawled through \n\t\ta river of shit and came out clean", "RED (V.O.) \n\t\tAndy came to Shawshank Prison in \n\t\tearly 1947 for murdering his wife \n\t\tand the fella she was bangin'.", "ANDY \n\t\tDear Mr. Dufresne. In response to\n\t\tyour repeated inquiries, the State", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "RED (V.O.) \n\t\tAndy got two weeks in the hole for \n\t\tthat little stunt.", "Andy is reclined in the chair, transported, arms fluidly \n\tconducting the music. Ecstasy and rapture. Shawshank no \n\tlonger exists. It has been banished from the mind of men.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "RED (V.O.) \n\t\tThat's how Andy joined our happy \n\t\tlittle Shawshank family with more \n\t\tthan five hundred dollars on his \n\t\tperson. Determination." ], [ "says, Byron Hadley? I say, yeah. He \n\t\tsays, sorry to inform you, but your \n\t\tbrother just died.", "RED (V.O.) \n\t\tI wasn't there to see it, but I hear \n\t\tByron Hadley was sobbing like a \n\t\tlittle girl when they took him away.", "BYRON HADLEY, captain of the guard, slams his baton into \n\tAndy's back. Andy goes to his knees, gasping in pain. JEERS \n\tand SHOUTS from the spectators.", "-- where it is relayed to the work detail. the men are dipping\n\tbig Padd brushes and spreading the tar. ANGLZ OVER to Byron \n\tHadley bitching sourly to his fellow guards:", "HADLEY \n\t\tWhat the Christ is this happy shit?", "D.A. \n\t\tByron Hadley? \n\n\tANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting.", "Wiley grins. Hadley glares at him. The grin vanishes.", "(off Hadley's shitty look) \n\t\t...ain't it?", "Hadley abruptly jerks Andy to a stop right at the edge. In \n\tfact, Andy's past the edge, beyond his balance, shoetips", "HADLEY \n\t\tThat's him. That's the one.", "RAPID DOLLY with Hadley. He's striding, pissed-off, a man on e\n\tmission. He straight-arms a door and emerges onto --", "HADLEY \n\t\tWhat are you jimmies starin' at? \n\t\tBack to work, goddamn it!", "HADLEY \n\t\tAmbulance-chaaing, highway-robbing \n\t\tcocksuckers!", "HADLEY \n\t\tDelouse that piece of shit! Next \n\t\tman in!", "HADLEY \n\t\tDrink up, boys. While it's cold.", "Hadley freezes him with a look. Andy presses on:", "HADLEY \n\t\tThat's funny. You're gonna look \n\t\tfunnier suckin' my dick with no \n\t\tfuckin' teeth.", "HADLEY \n\t\tFuckin'-A. I don't need no smart \n\t\twife-killin' banker to show me where \n\t\tthe bear shit in the buckwheat.", "Hadley arrives at Fat-Ass' cell, bellowing through the bars:", "HADLEY \n\t\tI ain't. He was an asshole. Run off \n\t\tyears ago, family ain't heard of him" ], [ "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "Norton exits. Andy turns to the laundry. He opens the shoebox. \n\tNice pair of dress shoes inside. He sighs, glances down at the \n\told ragged pair of work shoes on his own feet.", "Norton exits his office and strolls off whistling. PUSH IN on \n\tthe open door. We see Andy at the guard's desk, pulling \n\tNorton's dress shoes from their box.", "Norton opens his safe and pulls out the \"ledger\" -- it's \n\tAndy's Bible. The title page is inscribed by hand: \"Dear", "Norton gives a curt nod. Hadley and Trout start tossing the\n\tcell in a thorough search. Norton keeps his eyes on Andy,", "ANDY \n\t\tJust about done, sir. \n\n\tNorton crosses to the wall safe and works the dial, his back \n\tturned. This time, though, we stay on Andy:", "Andy says nothing. Walks stiffly away. Doesn't look back. \n\n192\tINT -- NORTON'S OFFICE -- DAY (1966) 192", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against", "We follow Norton to his wife's sampler. He swings it aside, \n\tworks the combination dial, opens the wall safe. Andy moves up,\n\tshoves in the black ledger and files. Norton shuts the safe.", "ANDY \n\t\tThree deposits tonight. \n\n\tAndy hands him the envelopes. Norton heads for the door.", "Norton pockets the envelopes. Andy crosses to the wall safe \n\tand shoves the ledger and sundry files inside. Norton locks", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "NORTON \n\t\t\t(as GUARDS enter) \n\t\tSolitary! A month! \n\n\tAndy gets dragged away, kicking and screaming:", "The storm rages. Andy, naked, carefully slips Norton's folded \n\tsuit into a large industrial Zip-Lock bag. Next to go in are the", "Norton and Hadley break the door in. Andy looks up with a \n\tsublime smile. We hear Wiley POUNDING on the bathroom door:", "Again we see: Andy working. Norton pokes his head in. \n\n\t\t\t\tNORTON \n\t\tLickety-split. I wanna get home.", "209\tINT -- NORTON'S OFFICE -- NIGHT (1966) 209\n\n\tAndy is diligently shining Norton's shoes.", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "NORTON \n\t\tI can't say I approve of this... \n\t\t\t(turns to Andy) \n\t\t...but I suppose exceptions can \n\t\talways be made." ], [ "ANGLE WIDENS. Brooks has hanged himself. He swings gently, \n\tfacing the open window. Traffic noise floats up from below.", "Brooks is dressed in his suit. He finishes knotting his tie, \n\tputs his hat on his head. The letter lies on the desk, stampe3 \n\tand ready for mailing. His bag is by the door.", "Brooks enters. The room is small, old, dingy. Heavy wooden \n\tbeams cross the ceiling. An arched window affords a view of", "Brooks leads Andy into the bleakest back room of all. Rough\n\tplank shelves are lined with books. Brooks' private domain.", "BROOKS \n\t\tNothing left to talk about! It's all \n\t\ttalked out! Nothing left now but to \n\t\tcut his fuckin' throat!", "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "BROOKS \n\t\tYou mind?", "ANDY \n\t\t\t(softly) \n\t\tLike Brooks did? \n\n\tFADE TO BLACK", "TWO SHORT SIREN BLASTS herald the opening of the gate. It \n\tswings hugely open, revealing Brooks standing in his cheap \n\tsuit, carrying a cheap bag, wearing a cheap hat.", "BROOKS \n\t\tShook his fuckin' hand. Just about \n\t\tshit myself. All Andy needed was a", "BROOKS \n\t\tI know, they told me. Ain't that a \n\t\tkick in the ass? Come on in, I'll \n\t\tgive you the dime tour.", "BROOKS \n\t\tI can't take care of you no more. \n\t\tYou go on now. You're free.", "Brooks comes trudging up the sidewalk. He glances up as a \n\tprop-driven airliner streaks in low overhead.", "BROOKS \n\t\tGod is my witness. And Dekins, he \n\t\tjust blinks for a second, then", "Brooks bursts into tears. The storm is over. Heywood staggers\n\tfree, gasping for air. Andy takes the knife, passes it to Red.\n\tBrooks dissolves into Andy's arms with great heaving sobs.", "folded paper along with more cigarettes. Brooks turns his cart\n\taround and goes back. He pauses, sorting his books long enough\n\tfor Red to snag the slip of paper. Brooks continues on,", "109\tINT -- BUS -- DAY (1954) 109\n\n\tBrooks is riding the bus, clutching the seat before him, \n\tgripped by terror of speed and motion.", "BROOKS (V.O.) \n\t\tThe world went and got itself in a \n\t\tbig damn hurry. \n\n\tHe arrives at the Brewster. It ain't much to look at.", "BROOKS \n\t\tGoddamn miserable puke-eatin' sons \n\t\tof whores! \n\n\tHe kicks a table over. Tax files explode through the air.", "107\tINT -- LIBRARY -- DAWN (1954) 107\n\n\tBrooks stands on a chair, poised at the bars of a window, \n\tcradling Jake in his hands." ], [ "Andy takes the envelope, pulls out a letter, reads:", "Andy wrestles the phonograph player onto the guards' desk, \n\tsweeping things onto the floor in his haste. He plugs the \n\tmachine in. A red light warms up. The platter starts spinning.", "Andy reverently slips a stack from the box and starts flipping \n\tthrough them. Used Nat King Coles, Bing Crosbys, etc.", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "A MAN in shirtsleeves is going through the mail on his desk. \n\tHe finds Andy's package, rips it open. Pulls out the black", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "Wiley thrusts an envelope at Andy. Andy just stares at it.\n\n\t\t\t\tWILEY \n\t\tWell, take it.", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "Andy is working the line. Hadley enters and confers briefly \n\twith Bob. Bob nods, crosses to Andy, taps him. Andy turns, \n\tremoves an earplug. Bob shouts over the machine noise:", "RED (V.O.) \n\t\tSo Andy started writing a letter a \n\t\tweek, just like he said.", "ANDY (V.O.) \n\t\tDear Red. If you're reading this, \n\t\tyou've gotten out. And if you've", "Andy doesn't seem to mind. His arms sweep to the music still \n\tplaying in his head. We hear a FAINT ECHO of the soaring duet.", "Red slips the package out of his sheets, carefully checks to \n\tmake sure nobody's coming, then rips it open. He pulls out the \n\trock-hammer. It's just as Andy described. Red laughs softly.", "Andy finally glances to Red, seeking a reaction. Silence.", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Wiley pauses reading, puzzled. He thinks he hears music. \n\n\t\t\t\tWILEY \n\t\tAndy? You hear that?", "Andy lurches to a stop, listening. The woman cries out in \n\torgasm. The sound slams into Andy's brain like an icepick. He \n\tshuts his eyes tightly, wishing the sound would stop.", "RED (V.O.) \n\t\t...there was Andy, keeping the books.", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Andy listens in darkness. The FOOTSTEPS pause outside his \n\tdoor. The slot opens. An ELDERLY GUARD peers in." ], [ "He gazes up at Racquel and smiles. Pulls a six foot length of \n\trope from under his pillow. Lets it uncoil to the floor.", "Andy snags the conduit again. He contorts out of the hole and\n\tdangles into the shaft. We now see the purpose for the rope: the\n\tplastic bag hangs from his ankle with about two feet of slack,", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "Andy squeezes through the hole head-first, emerges to the waist,\n\tHe reaches for the opposite wall, manages to snag a steel \n\tconduit with his fingers.", "RED (V.O.) \n\t\tI remember thinking it would take a \n\t\tman six hundred years to tunnel \n\t\tthrough the wall with it. Andy did \n\t\tit in less than twenty.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "a horse bit. Andy kicks and struggles, but Rooster and Pete \n\thave his arms firmly pinned. Bogs whispers in Andy's ear:", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "ANDY \n\t\tJust about done, sir. \n\n\tNorton crosses to the wall safe and works the dial, his back \n\tturned. This time, though, we stay on Andy:", "Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, \n\tSLOWLY WIDENING. The big Washex blocks our view. All we see", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "Andy passes the maggot to Brooks. Brooks examines it, rolling\n\tit between his fingertips like a man checking out a fine \n\tcigar. Andy is riveted with apprehension.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time..." ], [ "...where the latest poster turns out to be Racquel Welch ins\n\tfur bikini. Gorgeous. \"One Million Years, B. C. \" SLOW PUSH IN,", "of paper flutters out, landing at his feet. The poster is the\n\tfamous Rita Hayworth pin-up -- one hand behind her head, eyes", "He senses a presence, looks over his shoulder. There's a Rita \n\tHayworth poster on his wall. He gets out of bed. Rita just", "The lights go off. Andy opens the tube and pulls out a large \n\trolled poster. He lets it uncurl to the floor. A small scrap", "Norton nods, strolls to the poster of Rita.", "keeps smiling, inscrutable. As Red watches, a brilliant \n\tround glow builds behind the poster, shining from the", "Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals\n\tthe new poster: the famous shot from \"The Seven Year Itch,\"", "as Norton rips the poster from before our eyes. Stunned faces \n\tpeer in. CAMERA PULLS SLOWLY BACK...to reveal the long \n\tcrumbling tunnel in the wall.", "It takes a moment for this to sink in. All eyes go to her. The \n\trock went through her. There's a small hole in the poster \n\twhere her navel used to be.", "He gazes up at Racquel and smiles. Pulls a six foot length of \n\trope from under his pillow. Lets it uncoil to the floor.", "RED (V.O.) \n\t\tThat and a big damn poster. \n\n\tTRACK IN to reveal Andy scraping patiently at the concrete.", "ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends \n\tfingers of rosy light creeping across her face.", "tunnel. The poster rips free, charred to ash in the blink \n\tof an eye as a shaft of holy white light stabs into the", "The door opens. Red exits with his bag and heads down the \n\tstairs, leaving the door open. CAMERA PUSHES through, BOOMING \n\tUP to the ceiling beam which reads: \"Brooks Hatlen was here.\"", "The light illuminates her face through the paper. WIDEN to \n\treveal Andy lying in his tunnel, holding his breath. The \n\tlight clicks off. The FOOTSTEPS move on. He gets back to work.", "He hears FOOTSTEPS approaching. He smoothes the poster down and \n\tdives into bed. A GUARD strolls by a moment later, shining his \n\tflashlight into the cell.", "the safe, swings his wife's framed sampler back into place. He \n\tcocks his thumb at some laundry and two suits in the corner.", "those rocks. The same reason he hung \n\t\this fantasy girlies on the wall...", "reveals the cell is empty. Everything neat and tidy. Even the \n\tbunk is stowed. They wrench the door open and rush in, tossing", "Brooks enters. The room is small, old, dingy. Heavy wooden \n\tbeams cross the ceiling. An arched window affords a view of" ], [ "drives on. Red starts walking. PAN TO a roadside sign: BUXTON. \n\n290\tEXT -- MAINE COUNTRYSIDE -- DAY 290", "folded paper along with more cigarettes. Brooks turns his cart\n\taround and goes back. He pauses, sorting his books long enough\n\tfor Red to snag the slip of paper. Brooks continues on,", "Red is stunned. He very tentatively leans out and looks up. \n\tAbove him, Hadley and Mert lean on the 3rd tier railing.", "Red leans down and solves the mystery at last, staring at the \n\tobject buried under the rock. Stunned. It's an envelope wrapped \n\tin plastic. Written on it is a single word: \"Red.\"", "By now, tears are spilling silently down Red's cheeks. He \n\topens the other envelope and fans out a stack of new fifty- \n\tdollar bills. Twenty of them. A thousand dollars.", "That's it for Red. He starts laughing. Laughing, hell, he's \n\tbellowing laughter, laughing so hard he has to hold himself,", "Walking. Searching. The day turning late. Red finds himself \n\tstaring at a distant field. There's a long rock wall, like", "277\tEXT -- BREWSTER HOTEL -- LATE AFTERNOON 277 \n\n\tRed arrives at the Brewster, three stories high and even less \n\tto look at than it used to be.", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --", "Red wakes from the nightmare. He gets out of bed. Moves to the \n\tbarred window of his cell. Peers up at the stars.", "38\tINT -- RED'S CELL -- NIGHT (1947) 38\n\n\tLying on his bunk, Red unfolds the square. A ten dollar bill.", "Red enters, ten years older than when we first saw him at a \n\tparole hearing. He removes his cap and sits.", "TWO SHORT SIREN BLASTS herald the opening of the main gate. It \n\tswings hugely open, revealing Red standing in his cheap suit,", "Red nods, solemn. They settle in on the bleachers. Andy pulls \n\ta small box from his sweater, hands it to Red.", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Andy finds a table occupied by Red and his regulars, chooses\n\ta spot at the end where nobody is sitting. Ignoring their", "The man on the boat pauses. Turns slowly around. Red arrives \n\twith a smile as wide as the horizon. The other man raises his \n\tgoggles and pulls down his mask. Andy, of course.", "Red stares through the bars at the main floor below, eyes \n\triveted to the small puddle of blood where Fat-Ass went down.", "Red finds Andy sitting in the shadow of the high stone wall, \n\tpoking listlessly through the dust for small pebbles. Red" ], [ "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "Andy is led past and given a cell at the end of the tier.", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "ANDY \n\t\t\t(faint, bitter smile) \n\t\tSince I am innocent of this crime, \n\t\tsir, I find it decidedly inconvenient \n\t\tthe gun was never found.", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Red stares at Andy, laughs.", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against", "Andy tries to step past them. He gets shoved around, nothing\n\tserious, just some slap and tickle. Jackals sizing up prey.", "He gestures to Andy sitting quietly with his ATTORNEY.", "Andy stands before the dias. THE JUDGE peers down, framed by a \n\tcarved frieze of blind Lady Justice on the wall.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets." ], [ "RED (V.O.) \n\t\tLike I said. In prison, a man'll do \n\t\tmost anything to keep his mind \n\t\toccupied.", "Red takes this as a gentle rebuff, keeps playing. \n\n\t\t\t\tANDY \n\t\tWhat are you in for, Red?", "RED (V.O.) \n\t\tThere's a con like me in every prison \n\t\tin America, I guess. I'm the guy who", "RED (V.O.) \n\t\tIn prison, a man'll do most \n\t\tanything to keep his mind occupied.", "Red enters, ten years older than when we first saw him at a \n\tparole hearing. He removes his cap and sits.", "Brooks Hatlen pushes a cart of books from cell to cell. The \n\trolling library. He finds Red waiting for him. Red slips the", "RED (V.O.) \n\t\tThings went on like that for a \n\t\twhile. Prison life consists of \n\t\troutine, and then more routine.", "Red wakes from the nightmare. He gets out of bed. Moves to the \n\tbarred window of his cell. Peers up at the stars.", "By now, tears are spilling silently down Red's cheeks. He \n\topens the other envelope and fans out a stack of new fifty- \n\tdollar bills. Twenty of them. A thousand dollars.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --", "RED (V.O.) \n\t\tHe never said who did it...but we \n\t\tall knew. \n\n\tPRISON MONTAGE: (1947 through 1949)", "The lights bump off in sequence. The guard exits, footsteps\n\techoing away. Darkness now. Silence. CAMERA CRANES UP the \n\ttiers toward Red's cell.", "RED (V.O.) \n\t\tPrison time is slow time. Sometimes \n\t\tit feels like stop-time. So you do \n\t\twhat you can to keep going...", "Red watches from his cell, arms slung over the crossbars, \n\tcigarette dangling from his fingers.", "RED (V.O.) \n\t\tBy the year Kennedy was shot, Andy \n\t\thad transformed a broom closet \n\t\tsmelling of turpentine into the \n\t\tbest prison library in New England.", "TOMMY \n\t\tWhat's he in for anyway? \n\n\t\t\t\tRED \n\t\tMurder.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "That's it for Red. He starts laughing. Laughing, hell, he's \n\tbellowing laughter, laughing so hard he has to hold himself,", "Red doesn't answer. Just stares off. Seconds tick by. The \n\tparole board exchanges glances. Somebody clears his throat." ], [ "Red nods, solemn. They settle in on the bleachers. Andy pulls \n\ta small box from his sweater, hands it to Red.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "Red slips the package out of his sheets, carefully checks to \n\tmake sure nobody's coming, then rips it open. He pulls out the \n\trock-hammer. It's just as Andy described. Red laughs softly.", "RED (V.O.) \n\t\tSo when Andy Dufresne came to me in \n\t\t1949 and asked me to smuggle Rita", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "Red stares at Andy, laughs.", "Andy finally glances to Red, seeking a reaction. Silence.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Red takes this as a gentle rebuff, keeps playing. \n\n\t\t\t\tANDY \n\t\tWhat are you in for, Red?", "The man on the boat pauses. Turns slowly around. Red arrives \n\twith a smile as wide as the horizon. The other man raises his \n\tgoggles and pulls down his mask. Andy, of course.", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "ANDY \n\t\tRed! \n\n\tRed steps in with an armload of files. Andy gingerly reaches\n\tin, grabs a black feathered wing, and pulls out a dead crow.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "Red glances around at his friends. Andy also catches his eye.", "Red listens to the CLANGING below. He watches Andy and a few \n\tothers being brought up to the 2nd tier." ], [ "Andy is led past and given a cell at the end of the tier.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "A stone closet. No bed, sink, or lights. Just a toilet with no \n\tseat. Andy sits on bare concrete, bruised face lit by a faint \n\tray of light falling through the tiny slit in the steel door.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "Andy is reclined in the chair, transported, arms fluidly \n\tconducting the music. Ecstasy and rapture. Shawshank no \n\tlonger exists. It has been banished from the mind of men.", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "ANDY \n\t\tHey, Jake. Where's Brooks? \n\n\tBrooks Hatlen pokes his head out of the back room.", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "The bars slam home. Andy is alone in his cell, clutching his \n\tclothes. He gazes around at his new surroundings, taking it \n\tin. He slowly begins to dress himself...", "Andy is doing taxes. Mert Entwhistle is seated across from\n\thim. Other off-duty guards are waiting their turn.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "Tommy enters, the strut gone from his step. A little scared. \n\tHe finds Andy filing library cards.", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against" ], [ "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "ANDY \n\t\tHey, Jake. Where's Brooks? \n\n\tBrooks Hatlen pokes his head out of the back room.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "We see what the guard doesn't: instead of Andy's head under \n\tthe blanket, it's a wadded-up pillow. The flashlight plays", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "Andy is reclined in the chair, transported, arms fluidly \n\tconducting the music. Ecstasy and rapture. Shawshank no \n\tlonger exists. It has been banished from the mind of men.", "52\tINT -- PRISON LAUNDRY -- DAY (1949) 52\n\n\tAndy is working the line.", "Andy is led past and given a cell at the end of the tier.", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "Andy is doing taxes. Mert Entwhistle is seated across from\n\thim. Other off-duty guards are waiting their turn.", "A stone closet. No bed, sink, or lights. Just a toilet with no \n\tseat. Andy sits on bare concrete, bruised face lit by a faint \n\tray of light falling through the tiny slit in the steel door.", "ANDY DUFRESNE \n\n\tis on the witness stand, hands folded, suit and tie pressed, \n\thair meticulously combed. He speaks in soft, measured tones:", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues." ], [ "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "Brooks bursts into tears. The storm is over. Heywood staggers\n\tfree, gasping for air. Andy takes the knife, passes it to Red.\n\tBrooks dissolves into Andy's arms with great heaving sobs.", "Brooks enters. The room is small, old, dingy. Heavy wooden \n\tbeams cross the ceiling. An arched window affords a view of", "Red and Andy exchange a surprised look. Andy wants to \n\tunderstand. Red just motions to let it be for now. He puts his\n\tarm around Brooks, who sobs inconsolably. Softly:", "ANDY \n\t\t\t(softly) \n\t\tLike Brooks did? \n\n\tFADE TO BLACK", "Andy passes the maggot to Brooks. Brooks examines it, rolling\n\tit between his fingertips like a man checking out a fine \n\tcigar. Andy is riveted with apprehension.", "folded paper along with more cigarettes. Brooks turns his cart\n\taround and goes back. He pauses, sorting his books long enough\n\tfor Red to snag the slip of paper. Brooks continues on,", "Floyd rushes in with Andy and Red at his heels. They find \n\tJigger and Snooze trying to calm Brooks, who has Heywood in a \n\tchokehold and a knife to his throat. Heywood is terrified.", "Brooks leads Andy into the bleakest back room of all. Rough\n\tplank shelves are lined with books. Brooks' private domain.", "Brooks comes trudging up the sidewalk. He glances up as a \n\tprop-driven airliner streaks in low overhead.", "ANGLE WIDENS. Brooks has hanged himself. He swings gently, \n\tfacing the open window. Traffic noise floats up from below.", "Andy can't bear to watch. Brooks opens up his sweater and \n\tfeeds the maggot to a baby crow nestled in an inside pocket.\n\tAndy breathes a sigh of relief.", "BROOKS \n\t\tShook his fuckin' hand. Just about \n\t\tshit myself. All Andy needed was a", "BROOKS (V.O.) \n\t\tThe world went and got itself in a \n\t\tbig damn hurry. \n\n\tHe arrives at the Brewster. It ain't much to look at.", "Brooks is dressed in his suit. He finishes knotting his tie, \n\tputs his hat on his head. The letter lies on the desk, stampe3 \n\tand ready for mailing. His bag is by the door.", "TWO SHORT SIREN BLASTS herald the opening of the gate. It \n\tswings hugely open, revealing Brooks standing in his cheap \n\tsuit, carrying a cheap bag, wearing a cheap hat.", "BROOKS \n\t\tAndy! Thought I heard you out here! \n\n\t\t\t\tANDY \n\t\tI've been reassigned to you.", "BROOKS \n\t\tNothing left to talk about! It's all \n\t\ttalked out! Nothing left now but to \n\t\tcut his fuckin' throat!", "Andy pauses. Something about this doesn't make any sense.\n\n\t\t\t\tANDY \n\t\tBrooks? How long have you been \n\t\tlibrarian?", "BROOKS \n\t\tI know, they told me. Ain't that a \n\t\tkick in the ass? Come on in, I'll \n\t\tgive you the dime tour." ], [ "RED (V.O.) \n\t\tSo Andy took Tommy under his wing. \n\t\tStarted walking him through his \n\t\tABCs...", "Tommy enters, the strut gone from his step. A little scared. \n\tHe finds Andy filing library cards.", "Tommy sits before Andy and Red:", "Silence. Tommy has finished his story. Red is stunned...but \n\tAndy looks like he's been smacked with a two by four. \n\n\t\t\t\tRED \n\t\tAndy?", "Tommy is gone. Red and others stare. Andy gets up, pulls the \n\ttest from the trash, smoothes it out on the desk.", "RED (V.O.) \n\t\tI guess after Tommy was killed, \n\t\tAndy decided he'd been here just \n\t\tabout long enough.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "ANDY \n\t\tIt wouldn't matter. With Tommy's \n\t\ttestimony, I can get a new trial.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "RED (V.O.) \n\t\tHis first night in the joint, Andy \n\t\tDufresne cost me two packs of \n\t\tcigarettes. He never made a sound...", "A stone closet. No bed, sink, or lights. Just a toilet with no \n\tseat. Andy sits on bare concrete, bruised face lit by a faint \n\tray of light falling through the tiny slit in the steel door.", "Andy slaps the book shut, immensely pleased with himself.\n\n\t\t\t\tTOMMY \n\t\tSo this raven just sits there and \n\t\twon't go away?", "TOMMY \n\t\tWhat's he in for anyway? \n\n\t\t\t\tRED \n\t\tMurder.", "Andy clears his throat. Time's up. Tommy puts his pencil down, \n\n\t\t\t\tANDY \n\t\tWell?", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "RED (V.O.) \n\t\tTommy Williams came to Shawshank in \n\t\t1965 on a two year stretch for B&E.", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light." ], [ "Red wakes from the nightmare. He gets out of bed. Moves to the \n\tbarred window of his cell. Peers up at the stars.", "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --", "The lights bump off in sequence. The guard exits, footsteps\n\techoing away. Darkness now. Silence. CAMERA CRANES UP the \n\ttiers toward Red's cell.", "ANDY \n\t\t\t(turns back) \n\t\tRed, if you ever get out of here,", "Red enters, ten years older than when we first saw him at a \n\tparole hearing. He removes his cap and sits.", "Red leans down and solves the mystery at last, staring at the \n\tobject buried under the rock. Stunned. It's an envelope wrapped \n\tin plastic. Written on it is a single word: \"Red.\"", "RED (V.O.) \n\t\tThere's a con like me in every prison \n\t\tin America, I guess. I'm the guy who", "Brooks Hatlen pushes a cart of books from cell to cell. The \n\trolling library. He finds Red waiting for him. Red slips the", "RED (V.O.) \n\t\tIn prison, a man'll do most \n\t\tanything to keep his mind occupied.", "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "By now, tears are spilling silently down Red's cheeks. He \n\topens the other envelope and fans out a stack of new fifty- \n\tdollar bills. Twenty of them. A thousand dollars.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "RED (V.O.) \n\t\t...and Bogs never walked again. They \n\t\ttransferred him to a minimum security", "That's it for Red. He starts laughing. Laughing, hell, he's \n\tbellowing laughter, laughing so hard he has to hold himself,", "152\tEXT -- PRISON YARD -- DUSK (1957) 152\n\n\tRed emerges into fading daylight. Andy's waiting for him.", "RED (V.O.) \n\t\tBy the year Kennedy was shot, Andy \n\t\thad transformed a broom closet \n\t\tsmelling of turpentine into the \n\t\tbest prison library in New England.", "folded paper along with more cigarettes. Brooks turns his cart\n\taround and goes back. He pauses, sorting his books long enough\n\tfor Red to snag the slip of paper. Brooks continues on,", "RED (V.O.) \n\t\tLike I said. In prison, a man'll do \n\t\tmost anything to keep his mind \n\t\toccupied.", "RED (V.O.) \n\t\tThings went on like that for a \n\t\twhile. Prison life consists of \n\t\troutine, and then more routine.", "Red doesn't answer. Just stares off. Seconds tick by. The \n\tparole board exchanges glances. Somebody clears his throat." ], [ "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --", "Red enters, ten years older than when we first saw him at a \n\tparole hearing. He removes his cap and sits.", "Red wakes from the nightmare. He gets out of bed. Moves to the \n\tbarred window of his cell. Peers up at the stars.", "The lights bump off in sequence. The guard exits, footsteps\n\techoing away. Darkness now. Silence. CAMERA CRANES UP the \n\ttiers toward Red's cell.", "RED (V.O.) \n\t\tThings went on like that for a \n\t\twhile. Prison life consists of \n\t\troutine, and then more routine.", "RED (V.O.) \n\t\tPrison time is slow time. Sometimes \n\t\tit feels like stop-time. So you do \n\t\twhat you can to keep going...", "...and we find Red gazing blankly as darkness takes the \n\tcellblock. Adding up the months, weeks, days...", "By now, tears are spilling silently down Red's cheeks. He \n\topens the other envelope and fans out a stack of new fifty- \n\tdollar bills. Twenty of them. A thousand dollars.", "Red doesn't answer. Just stares off. Seconds tick by. The \n\tparole board exchanges glances. Somebody clears his throat.", "152\tEXT -- PRISON YARD -- DUSK (1957) 152\n\n\tRed emerges into fading daylight. Andy's waiting for him.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "RED (V.O.) \n\t\tBogs spent a week in the hole. \n\n\tBogs sits on bare concrete. The steel door slides open.", "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "That's it for Red. He starts laughing. Laughing, hell, he's \n\tbellowing laughter, laughing so hard he has to hold himself,", "284\tINT -- PAROLE OFFICE -- DAY 284\n\n\tRed sits across from his PAROLE OFFICER. The P.O. is filling\n\tout his report.", "RED (V.O.) \n\t\tIn prison, a man'll do most \n\t\tanything to keep his mind occupied.", "The parole board just stares. Red sits drumming his fingers. \n\n\tCLOSEUP -- PAROLE FORM", "RED (V.O.) \n\t\tBy the year Kennedy was shot, Andy \n\t\thad transformed a broom closet \n\t\tsmelling of turpentine into the \n\t\tbest prison library in New England.", "Brooks Hatlen pushes a cart of books from cell to cell. The \n\trolling library. He finds Red waiting for him. Red slips the", "The door opens. Red exits with his bag and heads down the \n\tstairs, leaving the door open. CAMERA PUSHES through, BOOMING \n\tUP to the ceiling beam which reads: \"Brooks Hatlen was here.\"" ], [ "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Andy finally glances to Red, seeking a reaction. Silence.", "Red stares at Andy, laughs.", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "Andy finds a table occupied by Red and his regulars, chooses\n\ta spot at the end where nobody is sitting. Ignoring their", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "RED \n\t\tNo? Just wait. \n\n\tRed flicks his gaze past Andy. Bogs is watching them.", "Red listens to the CLANGING below. He watches Andy and a few \n\tothers being brought up to the 2nd tier.", "The man on the boat pauses. Turns slowly around. Red arrives \n\twith a smile as wide as the horizon. The other man raises his \n\tgoggles and pulls down his mask. Andy, of course.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "Red glances around at his friends. Andy also catches his eye.", "Andy shoots a worried look at Red, then heads off. \n\n129\tINT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129", "Red finds Andy sitting in the shadow of the high stone wall, \n\tpoking listlessly through the dust for small pebbles. Red", "Red nods, solemn. They settle in on the bleachers. Andy pulls \n\ta small box from his sweater, hands it to Red.", "RED \n\t\tCrying shame. Some folks got it \n\t\tawful bad. \n\n\tRed glances over -- and is shocked to see Andy standing up,\n\tlistening to the guards talk.", "ANDY \n\t\t\t(turns back) \n\t\tRed, if you ever get out of here,", "We find Andy, Red, and the boys working with picks and \n\tshovels. They glance over to the pickup truck. Hadley's" ], [ "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "ANDY DUFRESNE \n\n\tis on the witness stand, hands folded, suit and tie pressed, \n\thair meticulously combed. He speaks in soft, measured tones:", "RED (V.O.) \n\t\tHis first night in the joint, Andy \n\t\tDufresne cost me two packs of \n\t\tcigarettes. He never made a sound...", "RED (V.O.) \n\t\tSo when Andy Dufresne came to me in \n\t\t1949 and asked me to smuggle Rita", "ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. \n\tUnder normal circumstances a respectable, solid citizen; hardly", "on the other side. Andy Dufresne, \n\t\theaded for the Pacific.", "RED (V.O.) \n\t\tIn 1966, Andy Dufresne escaped from \n\t\tShawshank Prison.", "that bullet...was to wonder how the \n\t\thell Andy Dufresne ever got the \n\t\tbest of him.", "RED (V.O.) \n\t\tAndy Dufresne, who crawled through \n\t\ta river of shit and came out clean", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "ANDY \n\t\tDear Mr. Dufresne. In response to\n\t\tyour repeated inquiries, the State", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "RED (V.O.) \n\t\tAndy came to Shawshank Prison in \n\t\tearly 1947 for murdering his wife \n\t\tand the fella she was bangin'.", "ANDY \n\t\t\t(faint, bitter smile) \n\t\tSince I am innocent of this crime, \n\t\tsir, I find it decidedly inconvenient \n\t\tthe gun was never found.", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "ANDY \n\t\tDumas. You boys'll like that one. \n\t\tIt's about a prison break.", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "Red takes this as a gentle rebuff, keeps playing. \n\n\t\t\t\tANDY \n\t\tWhat are you in for, Red?", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets." ], [ "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "RED (V.O.) \n\t\tI guess after Tommy was killed, \n\t\tAndy decided he'd been here just \n\t\tabout long enough.", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "ANDY \n\t\t\t(softly) \n\t\tLike Brooks did? \n\n\tFADE TO BLACK", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "ANDY \n\t\tRed! \n\n\tRed steps in with an armload of files. Andy gingerly reaches\n\tin, grabs a black feathered wing, and pulls out a dead crow.", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "Andy nods, embarrassed. He gets up and hurries out. Red grins, \n\tturns back to the movie.", "RED (V.O.) \n\t\t...there was Andy, keeping the books.", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "RED \n\t\tThe wife-killin' banker. \n\n\t\t\t\tANDY \n\t\tHow do you know that?", "RED (V.O.) \n\t\tYes sir, Andy was a regular H&R \n\t\tBlock. In fact, he got so busy at \n\t\ttax time, he was allowed a staff.", "ANDY \n\t\tP.S. Tell Heywood I'm sorry I put a \n\t\tknife to his throat. No hard feelings.", "ANDY \n\t\tThe silent, silent partner. He's \n\t\tthe guilty one, your Honor. The man", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, \n\tSLOWLY WIDENING. The big Washex blocks our view. All we see" ], [ "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "ANDY \n\t\tRed. I'm Andy. Pleasure doing \n\t\tbusiness with you. \n\n\tThey shake. Andy strolls off. Red watches him go.", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Andy is working the line. Hadley enters and confers briefly \n\twith Bob. Bob nods, crosses to Andy, taps him. Andy turns, \n\tremoves an earplug. Bob shouts over the machine noise:", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "ANDY \n\t\tI work cheap. That's the trade-off.", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "RED (V.O.) \n\t\t...there was Andy, keeping the books.", "RED (V.O.) \n\t\tWhile the rest of us slept, Andy \n\t\tspent years workin' the nightshift...", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against", "Andy nods. He leaves the line, weaving his way through the \n\tlaundry room and into --", "231\tINT -- ANDY'S CELL -- NIGHT (1949) 231\n\n\tOnce again, we see Andy using the rock-hammer to scratch his", "Tommy enters, the strut gone from his step. A little scared. \n\tHe finds Andy filing library cards.", "RED (V.O.) \n\t\tYes sir, Andy was a regular H&R \n\t\tBlock. In fact, he got so busy at \n\t\ttax time, he was allowed a staff.", "Red stares at Andy, laughs.", "Andy lurches to a stop, listening. The woman cries out in \n\torgasm. The sound slams into Andy's brain like an icepick. He \n\tshuts his eyes tightly, wishing the sound would stop.", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs." ], [ "Andy is led past and given a cell at the end of the tier.", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "A stone closet. No bed, sink, or lights. Just a toilet with no \n\tseat. Andy sits on bare concrete, bruised face lit by a faint \n\tray of light falling through the tiny slit in the steel door.", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "Andy is reclined in the chair, transported, arms fluidly \n\tconducting the music. Ecstasy and rapture. Shawshank no \n\tlonger exists. It has been banished from the mind of men.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "ANDY \n\t\tHey, Jake. Where's Brooks? \n\n\tBrooks Hatlen pokes his head out of the back room.", "Andy is led in. Norton is at his desk doing paperwork. Andy's\n\teyes go to a framed needle-point sampler on the wall behind", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "The bars slam home. Andy is alone in his cell, clutching his \n\tclothes. He gazes around at his new surroundings, taking it \n\tin. He slowly begins to dress himself...", "The slot closes. The FOOTSTEPS recede. Andy smiles. \n\n197\tINT -- PRISON CORRIDOR -- NIGHT (1966) 197", "ANDY \n\t\t\t(turns back) \n\t\tRed, if you ever get out of here,", "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "We see what the guard doesn't: instead of Andy's head under \n\tthe blanket, it's a wadded-up pillow. The flashlight plays" ], [ "RED (V.O.) \n\t\tHis first night in the joint, Andy \n\t\tDufresne cost me two packs of \n\t\tcigarettes. He never made a sound...", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "Andy is led past and given a cell at the end of the tier.", "ANDY \n\t\tHey, Jake. Where's Brooks? \n\n\tBrooks Hatlen pokes his head out of the back room.", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "Red waits at the bars. Smoking. Listening. He cranes his head,\n\tpeers down toward Andy's cell. Nothing. Not a peep.", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Andy gazes directly at Red. A beat of eye contact. Red shakes \n\this head. Don't do it. Andy smiles, eerily calm...and enters", "Red glances around at his friends. Andy also catches his eye.", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "Red listens to the CLANGING below. He watches Andy and a few \n\tothers being brought up to the 2nd tier.", "ANDY \n\t\t\t(turns back) \n\t\tRed, if you ever get out of here," ], [ "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "ANDY \n\t\tAsk the warden for funds. \n\n\tLAUGHTER all around. Andy blinks at them.", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "We see what the guard doesn't: instead of Andy's head under \n\tthe blanket, it's a wadded-up pillow. The flashlight plays", "RED (V.O.) \n\t\tIt turns out Andy's favorite hobby \n\t\twas totin' his wall out into the \n\t\texercise yard a handful at a time...", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "-- the wall overlooking the exercise yard. He leans on the\n\trailing, scans the yard, sees Andy chatting with Red.", "ANDY \n\t\tSure it will. But not to me, and \n\t\tcertainly not to the warden. \n\n\t\t\t\tRED \n\t\tWho then?", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "ANDY \n\t\t\t(wry glance to Red) \n\t\tEveryone's innocent in here. Don't \n\t\tyou know that? \n\n\tThe tension breaks. Everyone laughs.", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "ANDY \n\t\tHey, Jake. Where's Brooks? \n\n\tBrooks Hatlen pokes his head out of the back room.", "RED (V.O.) \n\t\tThat's how Andy joined our happy \n\t\tlittle Shawshank family with more \n\t\tthan five hundred dollars on his \n\t\tperson. Determination.", "Andy is reclined in the chair, transported, arms fluidly \n\tconducting the music. Ecstasy and rapture. Shawshank no \n\tlonger exists. It has been banished from the mind of men.", "He reaches through the bars and returns the Bible to Andy. \n\n\t\t\t\tNORTON \n\t\tI'd hate to deprive you of this. \n\t\tSalvation lies within.", "ANDY DUFRESNE \n\n\tis on the witness stand, hands folded, suit and tie pressed, \n\thair meticulously combed. He speaks in soft, measured tones:", "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "Andy is led past and given a cell at the end of the tier." ], [ "He stands and unbuttons his prison shirt, revealing Norton's \n\tgray pinstripe suit underneath. A FLASH OF LIGHTNING floods the \n\tcell, throwing wild shadows.", "Red wakes from the nightmare. He gets out of bed. Moves to the \n\tbarred window of his cell. Peers up at the stars.", "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --", "A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts \n\tbeating him with the baton, brutally raining blows. Fat-Ass \n\tfalls, tries to crawl.", "Brooks bursts into tears. The storm is over. Heywood staggers\n\tfree, gasping for air. Andy takes the knife, passes it to Red.\n\tBrooks dissolves into Andy's arms with great heaving sobs.", "TWO SHORT SIREN BLASTS herald the opening of the main gate. It \n\tswings hugely open, revealing Red standing in his cheap suit,", "He steps up onto the chair. It wobbles queasily. Now facing\n\tthe beam, he carves a message into the wood: \"Brooks Hatlen\n\twas here.\" He smiles with a sort of inner peace.", "Brooks walks out, tears streaming down his face. He looks \n\tback. Red, Andy, and others stand at the inner fence, seeing \n\thim off. The massive gate closes, wiping them from view.", "ANGLE WIDENS. Brooks has hanged himself. He swings gently, \n\tfacing the open window. Traffic noise floats up from below.", "TWO SIREN BLASTS draw their attention to the main gate. It \n\tswings open, revealing a prison bus waiting outside.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "Andy just stands and listens, devastated. He doesn't look like \n\tmuch of a killer now; he's just a sad little man on a dirt", "He takes one last look around. Only one thing left to do. He \n\tsteps to a wooden chair in the center of the room, pulls out s \n\tpocketknife, and glances up at the ceiling beam.", "Red enters, ten years older than when we first saw him at a \n\tparole hearing. He removes his cap and sits.", "(off their looks) \n\t\tAin't you heard? His parole came \n\t\tthrough!", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "Norton exits, the guards follow. The cell door is slammed and\n\tlocked. Norton pauses, turns back. \n\n\t\t\t\tNORTON \n\t\tI almost forgot.", "He reaches through the bars and returns the Bible to Andy. \n\n\t\t\t\tNORTON \n\t\tI'd hate to deprive you of this. \n\t\tSalvation lies within.", "TWO SHORT SIREN BLASTS herald the opening of the gate. It \n\tswings hugely open, revealing Brooks standing in his cheap \n\tsuit, carrying a cheap bag, wearing a cheap hat.", "The lights bump off in sequence. The guard exits, footsteps\n\techoing away. Darkness now. Silence. CAMERA CRANES UP the \n\ttiers toward Red's cell." ], [ "RED (V.O.) \n\t\tSo Andy took Tommy under his wing. \n\t\tStarted walking him through his \n\t\tABCs...", "Tommy sits before Andy and Red:", "Tommy enters, the strut gone from his step. A little scared. \n\tHe finds Andy filing library cards.", "Tommy is gone. Red and others stare. Andy gets up, pulls the \n\ttest from the trash, smoothes it out on the desk.", "ANDY \n\t\tIt wouldn't matter. With Tommy's \n\t\ttestimony, I can get a new trial.", "a library. Now he needed a new project. \n\t\tTommy was it. It was the same reason \n\t\the spent years shaping and polishing", "Andy clears his throat. Time's up. Tommy puts his pencil down, \n\n\t\t\t\tANDY \n\t\tWell?", "RED (V.O.) \n\t\tI guess after Tommy was killed, \n\t\tAndy decided he'd been here just \n\t\tabout long enough.", "Andy slaps the book shut, immensely pleased with himself.\n\n\t\t\t\tTOMMY \n\t\tSo this raven just sits there and \n\t\twon't go away?", "Silence. Tommy has finished his story. Red is stunned...but \n\tAndy looks like he's been smacked with a two by four. \n\n\t\t\t\tRED \n\t\tAndy?", "Andy squats, motions Red to join him. Andy grabs a handful of\n\tdirt and sifts it through his hands. He finds a pebble and", "Tommy's taking the big test. Andy's monitoring the time. Deep \n\tsilence, save for Tommy's pencil-scribbling. A few old-timers", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "We find Andy, Red, and the boys working with picks and \n\tshovels. They glance over to the pickup truck. Hadley's", "Andy fights like hell, but is soon overpowered and forced to his\n\tknees. Bogs steps to Andy, pulls out an awl with a vicious \n\teight-inch spike, gives him a good long look at it.", "Andy tries to step past them. He gets shoved around, nothing\n\tserious, just some slap and tickle. Jackals sizing up prey.", "Andy gets yanked to his feet. Bogs applies a chokehold from \n\tbehind. They propel him across the room and slam him against", "RED (V.O.) \n\t\tYou'd be amazed how far Andy could \n\t\tstretch it. He made deals with book", "waits for some acknowledgment. Andy doesn't even look up. \n\tRed hunkers down and joins him. Nothing is said for the \n\tlongest time. And then, softly:", "Andy and Dekins grab a desk standing on end and tilt it to the\n\tfloor. They find chairs and settle in. Brooks returns with a \n\ttablet of paper and a pen, slides them before Andy." ], [ "The light illuminates her face through the paper. WIDEN to \n\treveal Andy lying in his tunnel, holding his breath. The \n\tlight clicks off. The FOOTSTEPS move on. He gets back to work.", "tunnel. The poster rips free, charred to ash in the blink \n\tof an eye as a shaft of holy white light stabs into the", "252\tINT -- ANDY'S TUNNEL -- DAY (1966) 252\n\n\tOnce again, we see stunned faces as CAMERA PULLS BACK.", "Looking none too happy about it, Rory squeezes from the tunnel \n\tand dangles into the shaft. He gets lowered, shining his \n\tlight, smothered by darkness. Not having a good time.", "248\tINT -- TUNNEL -- NIGHT (1966) 248\n\n\tAndy, again wearing prison clothes, inches down the tunnel.", "nearby hill and quickly decide on a suitable spot. The \n\tguards haven't noticed.", "into a trot. Down the aisle, cut to the left, through the door\n\tinto the back rooms, faster and faster, running now, slamming", "as Norton rips the poster from before our eyes. Stunned faces \n\tpeer in. CAMERA PULLS SLOWLY BACK...to reveal the long \n\tcrumbling tunnel in the wall.", "Dark as midnight. Concrete walls rise on both sides. If you \n\timagine them as two huge slices of bread, the meat of this", "Andy yanks his kerchief down, grinning in exhilaration. Red\n\tand the others follow suit. They step through the hole in the\n\twall, exploring what used to be a sealed-off storage room.", "A ROAD-GANG is grading a culvert with picks. There's dust and \n\tthe smell of sweat in the air. GUARDS patrol with sniper rifles,", "Andy squeezes through the hole head-first, emerges to the waist,\n\tHe reaches for the opposite wall, manages to snag a steel \n\tconduit with his fingers.", "Brooks enters. The room is small, old, dingy. Heavy wooden \n\tbeams cross the ceiling. An arched window affords a view of", "TWO SHORT SIREN BLASTS herald the opening of the main gate. It \n\tswings hugely open, revealing Red standing in his cheap suit,", "Warden. You were right. Salvation lay within.\" Norton flips to\n\tthe center of the book -- and finds the pages hollowed out in\n\tthe shape of a rock-hammer.", "reveals the cell is empty. Everything neat and tidy. Even the \n\tbunk is stowed. They wrench the door open and rush in, tossing", "home and confront them. They \n\t\tweren't there...so I parked my car \n\t\tin the turnout...and waited.", "particular sandwich is about three feet of airspace and a dark\n\ttangle of pipes between the cellblocks. Rory's appears, shining", "The lights bump off in sequence. The guard exits, footsteps\n\techoing away. Darkness now. Silence. CAMERA CRANES UP the \n\ttiers toward Red's cell.", "Puzzled, Red steps from his cell, following the sound. It \n\tdawns on him that it's coming from above. He moves to the \n\trailing and leans out, craning around to look up --" ], [ "The bus lurches forward, RUMBLES through the gates. Andy gazes \n\taround, swallowed by prison walls.", "Andy, limping a bit, returns from the infirmary. Red watches \n\tfrom his cell as Andy is brought up and locked away.", "ANDY \n\t\tIt's funny. On the outside, I was \n\t\tan honest man. Straight as an \n\t\tarrow. I had to come to prison to \n\t\tbe a crook.", "RED (V.O.) \n\t\tAndy spent a month in traction. \n\n68\tINT -- SOLITARY CONFINEMENT -- DAY (1949) 68", "A GUARD strolls the tier, shining his flashlight into the \n\tcells. He pauses at Andy's bars, playing the beam over the \n\tsleeping form huddled under the blankets.", "RED (V.O.) \n\t\tAndy got two weeks in the hole for \n\t\tthat little stunt.", "Andy is led past and given a cell at the end of the tier.", "248\tINT -- TUNNEL -- NIGHT (1966) 248\n\n\tAndy, again wearing prison clothes, inches down the tunnel.", "A stone closet. No bed, sink, or lights. Just a toilet with no \n\tseat. Andy sits on bare concrete, bruised face lit by a faint \n\tray of light falling through the tiny slit in the steel door.", "RED (V.O.) \n\t\tHis first night in the joint, Andy \n\t\tDufresne cost me two packs of \n\t\tcigarettes. He never made a sound...", "RED (V.O.) \n\t\tAnd that's how it went for Andy. That \n\t\twas his routine. I do believe those", "Red hears Andy coming, moves to the bars. He watches Andy come \n\tup to the second tier and pause before his cell. \n\n\t\t\t\tGUARD (O.S.) \n\t\tOpen number twelve!", "GUARDS approach Andy's cell. The door is unlocked. Andy \n\temerges slowly, blinking painfully at the light.", "RED (V.O.) \n\t\tBy the year Kennedy was shot, Andy \n\t\thad transformed a broom closet \n\t\tsmelling of turpentine into the \n\t\tbest prison library in New England.", "Norton arrives, makes a thin show of picking a cell at random.\n\tHe motions at Andy on his bunk, reading his Bible. The door is\n\tunlocked. Norton enters, trailed by his men. Andy rises.", "ANDY \n\t\t\t(offers his hand) \n\t\tHello. I'm Andy Dufresne. \n\n\tRed glances at the hand, ignores it. The game continues.", "231\tINT -- ANDY'S CELL -- NIGHT (1949) 231\n\n\tOnce again, we see Andy using the rock-hammer to scratch his", "ANDY \n\t\t\t(turns back) \n\t\tRed, if you ever get out of here,", "ANDY \n\t\tOnly took six years. \n\t\t\t(beat) \n\t\tFrom now on, I send two letters a \n\t\tweek instead of one.", "52\tINT -- PRISON LAUNDRY -- DAY (1949) 52\n\n\tAndy is working the line." ] ]

[ "What was Andy Dufresne sentenced with?", "What did Byron Hadley complain about?", "What did Samuel Norton do with Andy?", "In what year did Brooks commit suicide?", "What recording did Andy receive?", "How long was the rope Andy asked for?", "What was behind the poster of Raquel Welch?", "Upon visiting Buxton, what did Red find?", "What is Andy convicted of?", "What does Red do for a living in prison?", "What does Red smuggle in for Andy?", "What is Andy assigned to do in prison?", "What does Andy really do as a job in prison?", "What happens to Brooks?", "What does Andy learn through fellow inmate Tommy?", "Where is Red supposed to go after he gets out of prison?", "How long does it take Red to leave prison?", "Where is Andy waiting for Red?", "What is Andy Dufresne convicted of?", "Who did Andy supposedly kill?", "What was Andy's profession?", "Where is Andy imprisoned?", "Who is the first person Andy befriends in jail?", "How does Andy earn favor with the wardens?", "Who is released from prison and kills himself?", "What did Andy help Tommy with?", "Where was the tunnel hidden?", "How long was Andy imprisoned?" ]

[ [ "Two consecutive life sentences at the Shawshank State Penitentiary.", "Two consecutive life sentences" ], [ "Being taxed on an inheritance.", "Tax inheritance offer legal shelter and money" ], [ "He reassigned him to the prison library to assist an elderly inmate.", "used him to launder money" ], [ "1954", "1954" ], [ "The Marriage of Figaro.", "Marriage of figaro" ], [ "Six feet or 1.8 meters.", "six feet" ], [ "A tunnel Andy dug for 19 years.", "A tunnel" ], [ "A cache with money and a letter inviting him to Zihuatanejo.", "A cache Andy left" ], [ "2 degrees of Murder", "murdering his wife and lover" ], [ "Contraband smuggler", "Contraband smuggler" ], [ "A rock hammer and a poster of Rita Hayworth", "A rock hammer." ], [ "Work as an assistant in the library", "Laundry" ], [ "Financial advisor", "Library" ], [ "He is paroled and kills himself", "commits suicide" ], [ "That another inmate in a different prison accepted responsibilty for the murders Andy was convicted for", "Another person claimed responisiblities for Andy's charges" ], [ "To a hayfield in Buxton, Maine", "Buxton" ], [ "40 years", "40 years" ], [ "On a Mexican beach, Zihuatanejo", "On a beach." ], [ "Murder.", "Murder" ], [ "His wife.", "His wife and her lover" ], [ "He was a banker.", "Banker" ], [ "Shawshank Prison.", "Shawshank State Penetentionary" ], [ "Ellis \"Red\" Redding.", "Ellis Redding" ], [ "He helps them with accounting work.", "accounting" ], [ "Brooks.", "Brooks" ], [ "The GED exam.", "passing his GED" ], [ "Behind a poster.", "Behind a Raquel Welch poster" ], [ "19 years.", "19 years" ] ]

[ [ "THE BRIDE\n Bill, I'm pregnant. It's your baby.", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "THE BRIDE\n Baby, you don't have a future.\n\nBill drinks some wine.", "THE BRIDE\n Bill, you couldn't know I was\n pregnant, once you knew, you'd\n claim it, and I didn't want that.", "BILL\n That's the truth. That's what she\n said.\n\nB.B. points to Manny's blood, which splashed a little on the\nBride's wedding gown.", "THE BRIDE\n Well?\n\n\n\n BILL\n Well what?", "THE BRIDE\n You and I have unfinished business.\n\n\n\n BILL\n Baby, you ain't kidding.\n\nThey both laugh.", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "SLAM!\n\nSuddenly The Bride sees the gold coke straw around his neck,\nthat she thought she'd seen earlier on Bill. She snatches it\nfrom around his neck.", "BILL\n Mommy, you're dead - so die.\n\nThe Bride shakes off her confusion, and acts out a big death\nscene fo her little girl.", "THE BRIDE\n What?\n\n\n\n BILL\n Nothing. When he tells me you're\n done.", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "SLAM!\n\nHe screams.\n\n THE BRIDE\n Bill! Where is Bill!", "THE BRIDE\n Explain yourself.\n\n BILL\n I already have. When I told you the\n story of when I thought you were\n dead. Didn't you get how badly I\n felt?", "BILL\n Oh, you mean the little tow head\n next to me, who looks\n extraordinarily like you?\n\n\n\n THE BRIDE\n Yeah, that one.", "THE BRIDE\n Well that's a demonstration of\n Bill's complete ignorance when it\n comes to the subject of me, and", "BILL\n I'm sorry was that a question? Of\n impossible things that could never\n happen - yes in this instance you\n would have been wrong.\n\nThe Bride listens stoney, then;", "BILL\n Very good, gorgeous. Mommy is\n gorgeous.\n\nThe Bride shows no sign of thawing around Bill.", "The Bride behind the wheel of the convertible, her long\nblonde hair whipping in the wind, talks to Bill for the first\ntime in five years and six months." ], [ "THE BRIDE\n -- Bitch, you can stop right there.\n\nThe B-word stops Vernita short, almost like a cold-handed\nslap in the face (it should affect the audience that way as\nwell).", "THE BRIDE\n Do to your daughter, what you did\n to mine...\n (she takes her hand)\n ...I won't.\n\nVernita dies.", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "VERNITA\n How bout tonight, bitch?\n\n\n\n THE BRIDE\n Spendid. Where?", "The Bride THROWS HERSELF ON THE FLOOR....\n\nVernita pulls the gun out of the cereal box and FIREES\nagain...", "She does. The Bride continues in VO;", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "The Bride decides the best course of action, till she gets\nher bearings, is to play possum. She throws herself back down", "THE BRIDE\n -- But that's where you're wrong,\n Vernita. I don't want to get even.", "THE BRIDE\n You suppose correctly.\n\n\n\n VERNITA\n Even if I was sincere?", "VERNITA\n Very funny.\n\nVernita FIRES A GUN from inside the cereal box at The\nBride....", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover.", "Vernita knows no matter what else is said, blood will spill.\n\n\n\n VERNITA\n When do we do this?", "...The Bride moves under the kitchen table, then using her\nback, LIFTS THE TABLE OFF THE GROUND, RAMMING IT STRAIGHT\nINTO Vernita, pinning her flat up against the table top, and\nthe kitchen counter.", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "The little girl's eyes go to the blonde lady in the living\nroom who she ain't never seen before, who also looks like\nshe's been fighting.\n\nThe Bride smiles at the confused Little Girl.", "She takes out a hand grenade, removes the pin with her teeth,\nand slides it towards the Bride.\n\nThe Bride sees the live hand grenade skidding and sliding on\nthe asphalt towards her...", "In the hail of bullets, the Bride tries to fire back.\n\nYuki reaches the end of the street and spins the car around.\n\nShe gets ready to make a third pass.", "THE BRIDE\n I saw what you did to that little\n Mamba in there. Want to try that on\n somebody your own size?" ], [ "Vernita moves to another kitchen cabinet, and pulls down a\nbox of the sugar cereal, \"Kaboom.\"", "As the two females continue to talk, Vernita reaches her hand\ninside the cereal box.", "bothered. I have to fix Nikki's\n cereal.\n\nAs they continue to talk, Vernita pulls down a cereal bowl\nfor her daughter and lays it on the kitchen counter.", "VERNITA\n Very funny.\n\nVernita FIRES A GUN from inside the cereal box at The\nBride....", "The Bride THROWS HERSELF ON THE FLOOR....\n\nVernita pulls the gun out of the cereal box and FIREES\nagain...", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;", "THE BRIDE\n Do to your daughter, what you did\n to mine...\n (she takes her hand)\n ...I won't.\n\nVernita dies.", "She rips off the plastic, revealing a large, green Army\nfootlocker, untouched by the condensation of being buried in", ".... The bullet explodes out of the cardboard box, and HITS\nthe coffee mugh directly in front of The Bride, BLOWING IT TO\nSMITHEREENS.", "THE BRIDE\n -- Bitch, you can stop right there.\n\nThe B-word stops Vernita short, almost like a cold-handed\nslap in the face (it should affect the audience that way as\nwell).", "INT. PRIVATE AREA - DAY\n\nWhere you look isnide your safety deposit box by yourself.\n\nThe Bride opens up the first box...", "She gets down on her knees, hacking away at the dirt with the\nhand pickaxe, till a large box covered in plastic is\nrevealed. She hoists it up out of the earth.", "The two combat artists sit at the kitchen table, drinking\ncoffee out of Vernita's coffee mugs.\n\n\n\n THE BRIDE\n Were you expecting me?", "The Bride complies. Karen bends down and picks the strip off\nthe floor. Then takes the package it came in and reads the\ndirections on the box.", "Vernita says her name;\n\n\n\n VERNITA\n *(BLEEP)*", "....It's filled w/ CASH.\n\nShe opens up the fourth box....", "Also in the box, is one COMPACT REFRIGERATOR CASE. She opens\nit, inside are 2 BEAUTIFUL HANDMADE GOLD SYRINGES and 1 VIAL\nOF FLUID.", "VERNITA\n Look bitch, I need to know if\n you're gonna start anymore shit\n around my baby girl!", "VERNITA\n How bout tonight, bitch?\n\n\n\n THE BRIDE\n Spendid. Where?", "BILL (O.S., JAPANESE)\n Los Angeles. Vernita's in Pasadena.\n But the woman you want will hold up" ], [ "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "...then as she dies, she leans the side of her head against\nThe Bride's standing body. Her blood runs down The Bride's\nleg. As she passes on, Elle gently wraps her arms around the\nBride's leg.", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "ELLE\n Oh, no you didn't.\n\nShe grabs The Bride by the front of her hospital gown...\n\n....Yanks Her up to a sitting position...", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "BILL\n\n He taught you the ten point palm\n exploding heart technique?\n\n\n\n THE BRIDE\n Of course he did.", "BILL\n Very good, gorgeous. Mommy is\n gorgeous.\n\nThe Bride shows no sign of thawing around Bill.", "We see the same shots as before of The Bride driving up to\nBill's villa, through his iron gates, and parking by his\nfront door. We see TWO BLACK-SUITED MALE SATELLITES approach\nher.", "Bill sits on the bed talking with Elle Driver on the phone.\n\nIn the b.g. L.F. is throwing everybody out.", "BILL\n Mommy, you're dead - so die.\n\nThe Bride shakes off her confusion, and acts out a big death\nscene fo her little girl.", "With the help of his cowboy boot he rolls The Bride over onto\nher stomach, exposing her butt.", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "They struggle for a moment...\n\n...TILL...\n\n...The Bride realizes Yuki's dead. She tosses her to the\nside.", "The Bride does one of her motor reflex functions...She SPITS\nin Elle's face.\n\nElle springs up, wipes the spit off her cheek and looks down\nat The comatose Bride in her bed.", "Elle no longer has enough life in her to stand up...She falls\nto her knees in front of The Bride....", "ELLE\n Why lie?\n\nElle raises up The Bride's Hanzo sword into position.\n\nThe Bride raises up her sword.", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "The elevator doors to the hospital's underground parking lot\nopen, revealing The Bride in Buck's orderly scrubs in a\nwheelchair.", "EX CU The BRIDE'S EYES\nwide open - blank stare.\n\nElle standing over The Bride's hospital bed, says to her;", "ELLE\n (referring to the sword)\n What's that?\n\n\n\n THE BRIDE\n Budd's Hanzo sword." ], [ "THE BRIDE\n I don't know...Because...I'm\n a...bad person.\n\nHe smiles at her duplicitly, and says with blood on his lips;", "When she's through she brings the blade across the man she's\nperched on's throat. He falls to his knees, bringing the\nBride back to the floor like an alevator.", "THE BRIDE (V.O.)\n At twenty five she did her part in\n the killing of eight innocent\n people, including my unborn", "She exhausts herself. All this while, she's been screaming\nthe words we can't even imagine coming out of her mouth;\n\n\n\n THE BRIDE\n Help me.", "THE BRIDE (V.O.)\n ...she Should of killed nine.\n However, before statisfaction would\n be mine, first things first...", "The nails cut through the plaid school uniform skirt into her\nflesh...the Bride rips out the nails, taking some leg meat\nwith them.", "The BRIDE\nupon waking, without leaving the bed where she lay the last\nfive years, has just killed two men. She throws off the", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "THE BRIDE\n I'll keep that in mind. So, do I\n have a future?\n\n\n\n NURSE OWENS\n You'll live to kill again.", "The BRIDE\nSplashed all over with blood. Blood painting the floor, walls\nand ceiling. Dead bodies, several limbs, and horribly wounded\nmen who have yet to die, litter the ground.", "INT. HOSPITAL CORRIDOR (THE BRIDE'S FLOOR) - NIGHT", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "So while the helpless man with no hands screams, the now nine\nfoot tall Bride fights with the others.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "THE BRIDE\n (leans in close)\n Just because I have no wish to\n murder you before the eyes of your", "The elevator doors to the hospital's underground parking lot\nopen, revealing The Bride in Buck's orderly scrubs in a\nwheelchair.", "THE BRIDE (V.O.)\n When fortune smiles on something as\n violent and ugly as revenge, at the\n time it seems proof like no other,", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "The Bride keeps her face in the dirt.\n\nThe figure of Budd at the window, seems to dismiss the sound\nhe heard for what it was -- a rat meeting its end at the\nclaws of a cat." ], [ "The Bride, runs across lawns and hides behind parked cars on\nthe street, as the bullets rip up homes, lawns, and\nautomobiles.\n\nWhen Yuki's car reaches the end of the dead end,...", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "THE BRIDE (V.O.)\n ...she Should of killed nine.\n However, before statisfaction would\n be mine, first things first...", "In the hail of bullets, the Bride tries to fire back.\n\nYuki reaches the end of the street and spins the car around.\n\nShe gets ready to make a third pass.", "Three more bullets rip into the Bride, the Bride fires up at\nYuki, hitting her three times in the body, knocking her off\nher feet, and sending her tumbling down the stairs.", "The Bride throws herself across the passenger seat as the\ndriver's side window EXPLODES over her head.\n\nThe two cars pass each other.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii.", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover.", "Go Go jumps on top of the Bride, attacking her with a samurai\nshort sword. The Bride uses the table leg to block it.", "When the Yubari sisters go back inside, the Bride climbs off\nher barstool and goes through the restaurant...into the\nparking area...and up to her rental car. She opens the door.", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "With the help of his cowboy boot he rolls The Bride over onto\nher stomach, exposing her butt.", "The Bride is a sitting duck. There's nothing she can do\nexcept wait to get shot.", "Budd and Ernie stand over her.\n\nThe Bride just GLARES up at the two tormentors, with the only\nweapon she has left, the contempt in her stare.", "She does. The Bride continues in VO;", "The camper door swings open. The Bride emerges from Budd's\nhome, looking like a Barbie doll that's been dug up after ten" ], [ "The BRIDE\nsearching under his bed, she sees a sword on the floor,\nresting in a shiny, black wood mahagony sheath. She removes\nit from its hiding place.", "The Bride unsheaths her sword with great flourish.\n\nElle does the same.", "The BRIDE\nInside the circle of Combatants who surrounded her. She Whips\nthe sword out of the floor and raises her blade diagonally in\nfront of her. Her eyes are reflected in the shiny steel.", "The BRIDE\nrises from the floor, and WHIPS OUT a KNIFE in a sheath\nhanging from her belt known as a SOG. (A SOG is a long,", "The Bride doesn't need a second invitation, she ATTACKS with\nthe sword.\n\nHe deftly moves out of the way.", "She takes the sword from him and tries again.", "Elle drops the Bride's sword.\n\nAs her blood continues to escape, both women look across each\nother.", "THE BRIDE (JAPANESE)\n Attack me. With everything you\n have.\n\nThe Two Women Clash Swords furiously, their attack ends with", "He LEAPS HIGH UP IN THE AIR, and LANDS STANDING on the Blade\nof her Sword.\n\nThe Bride looks down the blade of her sword and can't believe\nit.", "The BRIDE\nBreeze blowing her blonde hair, holding her Hanzo sword in\nits sheath.", "Go Go jumps on top of the Bride, attacking her with a samurai\nshort sword. The Bride uses the table leg to block it.", "The BRIDE\nHolding Sword...Eyes reflected in Blade...her Yellow Sneakers\nCrunching snow underneath them...", "When she's through she brings the blade across the man she's\nperched on's throat. He falls to his knees, bringing the\nBride back to the floor like an alevator.", "The BRIDE\ndoes a Zatoichi-like SWISH-SLASH-SWISH with her steel blade.", "The Bride repeats this... Her eyes look at the greatest maker\nof swords on this earth and says;\n\n\n\n THE BRIDE\n Domo.", "CU O-REN ISHII\nfacing away from the Bride. Sword still in her hand. We see", "The Bride walks down the row of Japanese steel, looking and\ntouching the shiny wood. She looks behind her to Hanzo who is\nstill by the trap door, and says;", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "O-REN LEAPS in the air\ndoes a Somersault over the Bride's head, landing behind her\nopponent. She brings her Sword down in a Slashing Swing...", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;" ], [ "The mention of a Hattori Hanzo sword gets Budd's attention.\n\n\n\n BUDD\n She got 'er a Hattori Hanzo sword?", "FADE UP ON\n\n\n\nCU HATTORI HANZO", "CUT TO:\n\nCU HATTORI HANZO\nHe's sewing something that requires a lot of concentration.", "INT. WHERE HATTORI HANZO SLEEPS - JAPAN - NIGHT\n\nHattori Hanzo lies sleeping on his mat...\n\nWHEN...", "The Jingi sword Hattori Hanzo created, just for her, for this\npurpose, has come to the end of its journey.", "BUDD\n Hell, I pawned that years ago.\n\n\n\n BILL\n You pawned a Hattori Hanzo sword?", "HANZO (V.O.; JAPANESE)\n I'm done doing what I swore an oath\n to God 28 years ago to never do", "She slowly removes the Japanese steel from its wood sheath.\n\n\n\n ELLE\n So this, is a Hattori Hanzo sword.", "The trap door in the floor opens up, and HATTORI HANZO (Sushi\nChef), climbs inside the room, followed by The Bride.", "HANZO (JAPANESE)\n \"When engaged in combat, the\n vanquishing of thine enemy can be\n the warrior's only concern...\n\nThe Bride repeats this...", "HANZO (JAPANESE)\n Revenge is never a straight line.\n It's a forest. And like a forest", "Under black we hear Hattori Hanzo's voice in Japanese and\nread the subtitles;", "HANZO (JAPANESE)\n This truth lies at the heart of the\n art of combat. Once it is\n mastered... Thou shall fear no\n one... Though the devil himself may\n bar thy way...", "BUDD\n If you're gonna compare a Hanzo\n sword, you compare it to every\n\n sword ever made -- wasn't made by\n Hattori Hanzo. Here, wrap your lips\n around this.", ".....before his head disappears, he says;\n\n\n\n HANZO (JAPANESE)\n ...I suggest you spend it\n practicing.", "HANZO (JAPANESE)\n ...Suppress all human emotion and\n compassion...\n\nThe Bride repeats this...", "Hattori Hanzo goes to a dusty window, and writes the name,\n\"BILL\" on it with his finger.\n\nThe blonde girl nods her head yes.", "HANZO (JAPANESE)\n\n ...Kill whoever stands in thy way,\n even if that be Lord God, or Buddha\n himself...", "HANZO (V.O.; JAPANESE)\n I can tell you with no ego, this is\n my finest sword. If on your\n journey, you should encounter God,\n God will be cut.", "The Bride Swings...\n\nThe Hanzo Sword Slices Miki's inferior blade in half. Miki\nlooks down at the impotent weapon in his hand." ], [ "THE BRIDE\n This is Hattori Hanzo steel.\n\n\n\n O-REN (JAPANESE)\n YOU LIE!!", "The Jingi sword Hattori Hanzo created, just for her, for this\npurpose, has come to the end of its journey.", "The Bride Swings...\n\nThe Hanzo Sword Slices Miki's inferior blade in half. Miki\nlooks down at the impotent weapon in his hand.", "We cut back to Budd's side. And what he's holding is The\nBride's Hattori Hanzo sword.", "The mention of a Hattori Hanzo sword gets Budd's attention.\n\n\n\n BUDD\n She got 'er a Hattori Hanzo sword?", "ELLE\n (referring to the sword)\n What's that?\n\n\n\n THE BRIDE\n Budd's Hanzo sword.", "She slowly removes the Japanese steel from its wood sheath.\n\n\n\n ELLE\n So this, is a Hattori Hanzo sword.", "The Bride repeats this... Her eyes look at the greatest maker\nof swords on this earth and says;\n\n\n\n THE BRIDE\n Domo.", "The BRIDE\nsearching under his bed, she sees a sword on the floor,\nresting in a shiny, black wood mahagony sheath. She removes\nit from its hiding place.", "...The arm, still gripping the samurai sword, drops to the\nfloor.\n\nThe Bride pushes the Hanzo Sword right through the middle of\nhis chest.", "As Hanzo sews, he recites in Japanese the Yagu mantra, the\nBride recites in Japanese after him.", "The Bride walks down the row of Japanese steel, looking and\ntouching the shiny wood. She looks behind her to Hanzo who is\nstill by the trap door, and says;", "THE BRIDE (ENGLISH)\n Huge.\n\n\n\nINT. HATTORI HANZO'S ATTIC - DAY", "THE BRIDE (JAPANESE)\n I need Japanese steel.\n\n\n\n SUSHI CHEF (JAPANESE)\n Why do you need Japanese steel?", "Texas tear-ass music begins coming out of the camper....We\nsee his figure pass the camper window, once or twice.\n\nThe Bride chooses her weapon -- Hattori Hanzo's samurai", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "HANZO (JAPANESE)\n \"When engaged in combat, the\n vanquishing of thine enemy can be\n the warrior's only concern...\n\nThe Bride repeats this...", "WOOD SHEATH\nIts one of Hanzo's sheaths. She opens it. It is a Hanzo\nsword. Near the handle, etched in the steel, are the English", "BUDD\n He made her one? Didn't he swear a\n blood oath never to make another\n sword?\n\n\n\n BILL\n It would appear he's broken it.", "HANZO (JAPANESE)\n ...Suppress all human emotion and\n compassion...\n\nThe Bride repeats this..." ], [ "And with that apology, statement, and invitation, The Bride\nwalks out the kitchen side door, leaving the little girl to\nher mourning.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "THE BRIDE\n It was not my intention to do this\n in front of you. For that I'm\n sorry. But you can take my word for", "THE BRIDE\n I don't know...Because...I'm\n a...bad person.\n\nHe smiles at her duplicitly, and says with blood on his lips;", "THE BRIDE\n Oh my God...\n (pause)\n ...She just called you a fool. She", "BILL\n I'm sorry was that a question? Of\n impossible things that could never\n happen - yes in this instance you\n would have been wrong.\n\nThe Bride listens stoney, then;", "The Bride repeats this... Her eyes look at the greatest maker\nof swords on this earth and says;\n\n\n\n THE BRIDE\n Domo.", "THE BRIDE\n Explain yourself.\n\n BILL\n I already have. When I told you the\n story of when I thought you were\n dead. Didn't you get how badly I\n felt?", "THE BRIDE\n I'll owe ya one.\n\nHe looks at her a BEAT longer...then says as he resheaths his\nsword;", "THE BRIDE (V.O.)\n When fortune smiles on something as\n violent and ugly as revenge, at the\n time it seems proof like no other,", "The Bride repeats this...", "THE BRIDE\n You and I have unfinished business.\n\n\n\n BILL\n Baby, you ain't kidding.\n\nThey both laugh.", "The Bride, slowly points the tip of her blade to the floor,\nlowers herself to one knee and slightly bows her head. In\nrepose.", "The Bride keeps her face in the dirt.\n\nThe figure of Budd at the window, seems to dismiss the sound\nhe heard for what it was -- a rat meeting its end at the\nclaws of a cat.", "She does. The Bride continues in VO;", "She lowers her eyes.\n\n\n\n THE BRIDE *\n I'm sorry master --", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii." ], [ "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii.", "She does. The Bride continues in VO;", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "And then finally, The Bride.\n\n\n\n THE BRIDE (V.O.)\n And that, that's me. I'm the Bride.", "THE BRIDE (V.O.)\n ...she Should of killed nine.\n However, before statisfaction would\n be mine, first things first...", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "THE BRIDE (V.O.)\n When fortune smiles on something as\n violent and ugly as revenge, at the\n time it seems proof like no other,", "BILL\n\n He taught you the ten point palm\n exploding heart technique?\n\n\n\n THE BRIDE\n Of course he did.", "With the help of his cowboy boot he rolls The Bride over onto\nher stomach, exposing her butt.", "THE BRIDE\n Yes, I'm an assassin. Yes I did\n come here to kill your sister. But\n I'm not gonna do that now.", "We go back and forth between CU of HANZO reciting the\ndoctrine like a samurai drill instructor and the Bride\nrepeating it.", "THE BRIDE (V.O.)\n The mop tops in black suits and\n Kato masks were O-Ren's soldiers,", "You bastard!\n\nThe Bride does a swipe in the air with her sword; Sofie's\nblood flies off the blade.", "Budd and Ernie stand over her.\n\nThe Bride just GLARES up at the two tormentors, with the only\nweapon she has left, the contempt in her stare.", "PAI MEI *\n Are you aware I kill at will?\n\n\n\n THE BRIDE *\n Yes.", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;" ], [ "The BRIDE\nsearching under his bed, she sees a sword on the floor,\nresting in a shiny, black wood mahagony sheath. She removes\nit from its hiding place.", "The Bride repeats this... Her eyes look at the greatest maker\nof swords on this earth and says;\n\n\n\n THE BRIDE\n Domo.", "ELLE\n (referring to the sword)\n What's that?\n\n\n\n THE BRIDE\n Budd's Hanzo sword.", "We cut back to Budd's side. And what he's holding is The\nBride's Hattori Hanzo sword.", "PAI MEI *\n Remove the sword.\n\nThe Bride removes a large heavy steel Chinese Sword.", "He LEAPS HIGH UP IN THE AIR, and LANDS STANDING on the Blade\nof her Sword.\n\nThe Bride looks down the blade of her sword and can't believe\nit.", "BUDD\n He made her one? Didn't he swear a\n blood oath never to make another\n sword?\n\n\n\n BILL\n It would appear he's broken it.", "The Bride unsheaths her sword with great flourish.\n\nElle does the same.", "The BRIDE\nrises from the floor, and WHIPS OUT a KNIFE in a sheath\nhanging from her belt known as a SOG. (A SOG is a long,", "The Jingi sword Hattori Hanzo created, just for her, for this\npurpose, has come to the end of its journey.", "The Bride walks down the row of Japanese steel, looking and\ntouching the shiny wood. She looks behind her to Hanzo who is\nstill by the trap door, and says;", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "The BRIDE\nInside the circle of Combatants who surrounded her. She Whips\nthe sword out of the floor and raises her blade diagonally in\nfront of her. Her eyes are reflected in the shiny steel.", "And then there were seven.\n\nThe seven remaining sword-weilding, black-suited boys moved\nout of range of the Bride's blade when she dropped to the\nfloor. Now spread out, they make a large half-circle.", "THE BRIDE\n This is Hattori Hanzo steel.\n\n\n\n O-REN (JAPANESE)\n YOU LIE!!", "The Bride Swings...\n\nThe Hanzo Sword Slices Miki's inferior blade in half. Miki\nlooks down at the impotent weapon in his hand.", "The Bride doesn't need a second invitation, she ATTACKS with\nthe sword.\n\nHe deftly moves out of the way.", "As Hanzo sews, he recites in Japanese the Yagu mantra, the\nBride recites in Japanese after him.", "...The arm, still gripping the samurai sword, drops to the\nfloor.\n\nThe Bride pushes the Hanzo Sword right through the middle of\nhis chest.", "When she's through she brings the blade across the man she's\nperched on's throat. He falls to his knees, bringing the\nBride back to the floor like an alevator." ], [ "With the help of his cowboy boot he rolls The Bride over onto\nher stomach, exposing her butt.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "BILL\n Very good, gorgeous. Mommy is\n gorgeous.\n\nThe Bride shows no sign of thawing around Bill.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "BILL\n Her name is B.B.\n\nThe Bride gets choked up again, emotion betrays her voice.", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "BILL\n\n He taught you the ten point palm\n exploding heart technique?\n\n\n\n THE BRIDE\n Of course he did.", "Budd and Ernie stand over her.\n\nThe Bride just GLARES up at the two tormentors, with the only\nweapon she has left, the contempt in her stare.", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "THE BRIDE\n No.\n\nThe Bride decides to tell all. As she tells this story, parts\nwill be shown on the screen.", "Go Go lets out a horrific scream.\n\nThe Bride brings the table leg down on the toe of the young\ngirl's white tennis shoe. The nails stick in, the white shoe\nbecomes stained with red.", "THE BRIDE (ENGLISH)\n Sure.\n\nYuki shines the flashlight beam in the Bride's face.", "THE ORDERLY\n Please please stop, don't hit me\n again!\n\n\n\n THE BRIDE\n Where is Bill?", "We see the same shots as before of The Bride driving up to\nBill's villa, through his iron gates, and parking by his\nfront door. We see TWO BLACK-SUITED MALE SATELLITES approach\nher.", "SLAM!\n\nHe screams.\n\n THE BRIDE\n Bill! Where is Bill!", "She does. The Bride continues in VO;", "The two fiends laugh, then bend down to lift The Bride and\ncarry her over to the pine box. She struggles with her bound", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover." ], [ "The Bride, runs across lawns and hides behind parked cars on\nthe street, as the bullets rip up homes, lawns, and\nautomobiles.\n\nWhen Yuki's car reaches the end of the dead end,...", "THE BRIDE (JAPANESE)\n I've kept you alive for one reason.\n Information. Being O-Ren's lawyer,\n I take it you're familiar with\n Bill?", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "THE BRIDE (JAPANESE)\n Will she ever give up?\n\n\n\n SOFIE (JAPANESE)\n She won't have to. When she finds", "The Bride sits in the jeep, by herself, parked in front of\nthe Priest Pai Mei's home located high up on top of White\nLotus Mountain.", "When the Yubari sisters go back inside, the Bride climbs off\nher barstool and goes through the restaurant...into the\nparking area...and up to her rental car. She opens the door.", "THE BRIDE (JAPANESE)\n Attack me. With everything you\n have.\n\nThe Two Women Clash Swords furiously, their attack ends with", "THE BRIDE (JAPANESE)\n Is she more skilled than I?\n\n\n\n SOFIE (JAPANESE)\n Skilled won't be the word.", "The Bride follows her...\n\n\n\nINT. SNOW-COVERED JAPANESE GARDEN - NIGHT", "We see the back-turned figure of the Bride slightly freeze\nupon hearing the Japanese greeting. Without turning around\nshe says;", "THE BRIDE (JAPANESE)\n You sent me to L.A. to kill that\n lady scoundrel, Lisa Wong.\n\nBill interrupts her.", "INT. MEXICO HOTEL - DAY\n\nThe Bride's on the phone, calling Japan, in tears.", "THE BRIDE (JAPANESE)\n I know you feel you must avenge\n your sister. But I beg you...walk\n away.\n\nYuki giggles.", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "The Bride, with her samurai sword in her hand, and her\nbackpack full of money, takes off running across a couple of\nfront lawns...\n\nYuki chases her with machine gun fire...", "OVERHEAD SHOT\nof the Bride in her passenger seat, flying to Japan. We see\nshe's holding a clean white handkerchief. She's sewing the\nname \"Bill\" in the corner.", "THE BRIDE (JAPANESE)\n Can I help you?\n\n\n\n YUKI (JAPANESE)\n You can kill yourself.", "As Hanzo sews, he recites in Japanese the Yagu mantra, the\nBride recites in Japanese after him.", "HANZO (JAPANESE)\n ...This is the first and cardinal\n rule of combat...\n\nThe Bride repeats this...", "THE BRIDE (JAPANESE)\n I need Japanese steel.\n\n\n\n SUSHI CHEF (JAPANESE)\n Why do you need Japanese steel?" ], [ "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "She does. The Bride continues in VO;", "The Bride decides the best course of action, till she gets\nher bearings, is to play possum. She throws herself back down", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "of Budd's pickup.\n\nThe BRIDE\nShe begins to come to from the shot in her arm.\nSome dried blood lies caked around her wounds. Rope binds her\nwrists tightly together in front of her.", "THE BRIDE (ENGLISH)\n She's alive! My baby girl's alive!\n\n CUT TO:", "The BRIDE\nupon waking, without leaving the bed where she lay the last\nfive years, has just killed two men. She throws off the", "The BRIDE\nInside the circle of Combatants who surrounded her. She Whips\nthe sword out of the floor and raises her blade diagonally in\nfront of her. Her eyes are reflected in the shiny steel.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "THE BRIDE\n No.\n\nThe Bride decides to tell all. As she tells this story, parts\nwill be shown on the screen.", "The Bride, slowly points the tip of her blade to the floor,\nlowers herself to one knee and slightly bows her head. In\nrepose.", "She wipes her eyes, and runs her hands down her face,\nmentally sending the little girl she became, back to wherever\nshe came from. The woman we know as The Bride is back. She\ntalks to herself.", "The Bride takes her place in front of the wall. She HITS it.\nOnly managing to stain the wall with the blood from her\nscraped knuckles. Then again. And again....", "When she's through she brings the blade across the man she's\nperched on's throat. He falls to his knees, bringing the\nBride back to the floor like an alevator.", "We go back and forth between CU of HANZO reciting the\ndoctrine like a samurai drill instructor and the Bride\nrepeating it.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The BRIDE\nrises from the floor, and WHIPS OUT a KNIFE in a sheath\nhanging from her belt known as a SOG. (A SOG is a long,", "And with that apology, statement, and invitation, The Bride\nwalks out the kitchen side door, leaving the little girl to\nher mourning.", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "on the bed, just as the three men enter her room.\nThey see just what they expected to see, The Bride lying in\nher bed in her coma." ], [ "The elevator doors to the hospital's underground parking lot\nopen, revealing The Bride in Buck's orderly scrubs in a\nwheelchair.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "THE BRIDE\n I don't know...Because...I'm\n a...bad person.\n\nHe smiles at her duplicitly, and says with blood on his lips;", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "THE BRIDE (V.O.)\n ...she Should of killed nine.\n However, before statisfaction would\n be mine, first things first...", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "The female assassin turns away from the wide-eyed stare of\nThe Bride, and paces the hospital room talking in the cell\nphone.", "When she's through she brings the blade across the man she's\nperched on's throat. He falls to his knees, bringing the\nBride back to the floor like an alevator.", "The Bride screams.\n\nThe TV is turned up loud to hide the screams.\n\nThe fifth slug is placed in an ashtray next to three\ncigarette butts and other balls of lead.", "After saying the \"y\" in \"baby\", we hear a BANG and The Bride\nreceives a bullet in the side of her head.\n\n CUT TO:\nBLACK SCREEN: Presentation Credit", "THE BRIDE (V.O.)\n At twenty five she did her part in\n the killing of eight innocent\n people, including my unborn", "The Bride, hurting and incapacitated from the shotgun blast,\nstill nevertheless defiant, SPITS a gob of bloody saliva,\nright in ole Budd's face.", "When the Yubari sisters go back inside, the Bride climbs off\nher barstool and goes through the restaurant...into the\nparking area...and up to her rental car. She opens the door.", "The nails cut through the plaid school uniform skirt into her\nflesh...the Bride rips out the nails, taking some leg meat\nwith them.", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "They struggle for a moment...\n\n...TILL...\n\n...The Bride realizes Yuki's dead. She tosses her to the\nside.", "INT. HOSPITAL CORRIDOR (THE BRIDE'S FLOOR) - NIGHT", "The Bride hops out of the car, runs to the back, opens the\ntrunk, takes out Sofie's body, and rolls it down the\nhill....Sofie stops rolling in front of the entrance of the\nhuge hospital." ], [ "INT. HOTEL ROOM\n\nL.F. O'Boyle hides in her room, holding a gun, pointed at the\nfront door.", "With her back against the wall, holding her weapon tight, she\nmoves down the hall. As she creeps, an unseen Bill yells to\nher from around the corner.", "A SHOTGUN BLAST BLOWS A HOLE in the door, right where the\nbent over woman was previously standing.\n\nKaren kicks open the door, Pump Action Shotgun in hand.", "Now comes the new stuff.\n\nShe climbs out of her vehicle, goes to the back, opens the\nboot, and removes her MOSSBERG PUMP ACTION SHOTGUN.", "Then with shotgun in hand, stands in the doorway of the\ntrailer looking down at The Bride.", "Back against the wall she creeps down the hall to the end.\nShe pumps the slide, and TURNS THE CORNER - SHOTGUN RAISED -\nREADY TO FIRE...\n\nWHEN...", "Karen BLOCKS the thrown knife with her shotgun. The blade\nsticking in the weapon's wooden stock. She removes the knife,\nand drops it to the floor.", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "She FIRES...Then moves further into the house.", "VERNITA\n Very funny.\n\nVernita FIRES A GUN from inside the cereal box at The\nBride....", "The Bride's on her back, on the floor below her.\n\nKaren aims the shotgun down at her.\n\nWith her foot, The Bride kicks the front door.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "...Yuki, who no longer has the machine gun, takes out a\ndeadly looking knife and snaps it open with a smile that\nbuilds to a scream...\n\nShe charges up the steps at the Bride.", "While her left hand holds the table, her right hand goes to\nthe SOG on her belt, her fingers wrap around the blade's", "ELLE (CONT'D)\n She put a Black Mamba in his\n camper.\n (pause)", "She sees Gerald has a Trucker's knife in a holster attached\nto his belt. Her hands removes it.", "B.B. springs up holding her tiny orange squirt gun and says;\n\n\n\n B.B.\n Bang bang!", "The Bride THROWS HERSELF ON THE FLOOR....\n\nVernita pulls the gun out of the cereal box and FIREES\nagain...", "Her hand removes her sog from its sheath. She moves through\nthe crowd of Texas two-steppers, sog in hand, towards Budd\nsitting oblivious on his stool....\n\nWHEN...", "CU The BLACK MAMBA\nout from under the refrigerator, behind Elle...\n\nElle senses it. And slowly turns her head to look back.." ], [ "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The sequence ends with the Bride arriving at Bill's home.\n\n WE FADE TO BLACK\n\n\n\nBLACK FRAME\nTITLE APPEARS:", "The Bride, hurting and incapacitated from the shotgun blast,\nstill nevertheless defiant, SPITS a gob of bloody saliva,\nright in ole Budd's face.", "After saying the \"y\" in \"baby\", we hear a BANG and The Bride\nreceives a bullet in the side of her head.\n\n CUT TO:\nBLACK SCREEN: Presentation Credit", "THE BRIDE (ENGLISH)\n She's alive! My baby girl's alive!\n\n CUT TO:", "The Bride and B.B. are driving away.\n\nThe Bride and B.B. eating in a coffee shop.", "THE BRIDE\n You and I have unfinished business.\n\n\n\n BILL\n Baby, you ain't kidding.\n\nThey both laugh.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "The Bride hops out of the car, runs to the back, opens the\ntrunk, takes out Sofie's body, and rolls it down the\nhill....Sofie stops rolling in front of the entrance of the\nhuge hospital.", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "Then with shotgun in hand, stands in the doorway of the\ntrailer looking down at The Bride.", "The same shot we saw during the opening credits. She's\ndressed in a white bridal gown, the exact replica of the one\nshe was bushwhacked in.", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "BILL\n Mommy, you're dead - so die.\n\nThe Bride shakes off her confusion, and acts out a big death\nscene fo her little girl.", "She does. The Bride continues in VO;", "THE BRIDE\n Explain yourself.\n\n BILL\n I already have. When I told you the\n story of when I thought you were\n dead. Didn't you get how badly I\n felt?" ], [ "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "THE BRIDE\n Bill, I'm pregnant. It's your baby.", "THE BRIDE\n You and I have unfinished business.\n\n\n\n BILL\n Baby, you ain't kidding.\n\nThey both laugh.", "BILL\n Mommy, you're dead - so die.\n\nThe Bride shakes off her confusion, and acts out a big death\nscene fo her little girl.", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "BILL\n Very good, gorgeous. Mommy is\n gorgeous.\n\nThe Bride shows no sign of thawing around Bill.", "The Bride behind the wheel of the convertible, her long\nblonde hair whipping in the wind, talks to Bill for the first\ntime in five years and six months.", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "BILL\n I'm sorry was that a question? Of\n impossible things that could never\n happen - yes in this instance you\n would have been wrong.\n\nThe Bride listens stoney, then;", "THE BRIDE\n What?\n\n\n\n BILL\n Nothing. When he tells me you're\n done.", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "THE BRIDE\n Baby, you don't have a future.\n\nBill drinks some wine.", "And with that apology, statement, and invitation, The Bride\nwalks out the kitchen side door, leaving the little girl to\nher mourning.", "THE BRIDE\n Explain yourself.\n\n BILL\n I already have. When I told you the\n story of when I thought you were\n dead. Didn't you get how badly I\n felt?", "She does. The Bride continues in VO;", "THE BRIDE\n Hello Bill.\n\n\n\n BILL\n Kiddo, is that really you?", "THE BRIDE\n Well?\n\n\n\n BILL\n Well what?", "BILL\n Her name is B.B.\n\nThe Bride gets choked up again, emotion betrays her voice." ], [ "chapel. The Bride is taking the beating of her life by four\npeople in black suits. A black woman PUNCHES HER in the", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The Bride sits in the jeep, by herself, parked in front of\nthe Priest Pai Mei's home located high up on top of White\nLotus Mountain.", "We also see we're in a wedding chapel that's been redecorated\nby blood death and gunfire. And firstly or lastly, depending\non the viewer, that the woman on the floor is dressed in a", "Go Go jumps on top of the Bride, attacking her with a samurai\nshort sword. The Bride uses the table leg to block it.", "The Bride, still in B/W, still in a bridal gown, but the\nasswippin she took in the scene before must have been in the\npast, because she looks like a million dollars\nnow.......three million even.", "The Bride is a sitting duck. There's nothing she can do\nexcept wait to get shot.", "The Bride darts across the street, she hits the ground and\nrolls under a Volkswagen van.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover.", "Three more bullets rip into the Bride, the Bride fires up at\nYuki, hitting her three times in the body, knocking her off\nher feet, and sending her tumbling down the stairs.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "The BRIDE\nrises from the floor, and WHIPS OUT a KNIFE in a sheath\nhanging from her belt known as a SOG. (A SOG is a long,", "The Bride throws herself across the passenger seat as the\ndriver's side window EXPLODES over her head.\n\nThe two cars pass each other.", "The Bride, runs across lawns and hides behind parked cars on\nthe street, as the bullets rip up homes, lawns, and\nautomobiles.\n\nWhen Yuki's car reaches the end of the dead end,...", "The Orderly swaggers down the hall to The Bride's room, red\nReeboks slapping against the smooth floor.\n\nCU The BRIDE\nShe SNAPS the knife's BLADE OPEN in her CU.", "The same shot we saw during the opening credits. She's\ndressed in a white bridal gown, the exact replica of the one\nshe was bushwhacked in.", "The camper door swings open. The Bride emerges from Budd's\nhome, looking like a Barbie doll that's been dug up after ten", "The BRIDE\nSplashed all over with blood. Blood painting the floor, walls\nand ceiling. Dead bodies, several limbs, and horribly wounded\nmen who have yet to die, litter the ground." ], [ "THE BRIDE\n -- Bitch, you can stop right there.\n\nThe B-word stops Vernita short, almost like a cold-handed\nslap in the face (it should affect the audience that way as\nwell).", "THE BRIDE\n Do to your daughter, what you did\n to mine...\n (she takes her hand)\n ...I won't.\n\nVernita dies.", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;", "...The Bride moves under the kitchen table, then using her\nback, LIFTS THE TABLE OFF THE GROUND, RAMMING IT STRAIGHT\nINTO Vernita, pinning her flat up against the table top, and\nthe kitchen counter.", "The Bride THROWS HERSELF ON THE FLOOR....\n\nVernita pulls the gun out of the cereal box and FIREES\nagain...", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "VERNITA\n Very funny.\n\nVernita FIRES A GUN from inside the cereal box at The\nBride....", "EXT. VERNITA'S HOME - DAY\n\nThe Bride walks down the dead woman's driveway to her\nvehicle. She glances at the lawn toys one more time as she\nmakes here getaway.", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover.", "The two women move into the kitchen. The Bride re-sheaths her\nSOG, and The Housewife puts the butcher knife back in the\ndrawer.", "The Bride takes a black felt pen and draws a line through\nVernita's name. Turns on the truck's engine and drives out of\nthe residential district.", "VERNITA\n How bout tonight, bitch?\n\n\n\n THE BRIDE\n Spendid. Where?", "THE BRIDE\n -- But that's where you're wrong,\n Vernita. I don't want to get even.", "Realizing there's no getting out of the back door, the Bride\nruns back into the living room that's now missing a wall, and\nruns up the home's staircase leading to the bedrooms.", "The Bride's on her back, on the floor below her.\n\nKaren aims the shotgun down at her.\n\nWith her foot, The Bride kicks the front door.", "The Bride seems to answer back; \"Okay.\"\n\nThe Black woman and the white woman hide their edged weapons\nbehind their backs, as the Four-Year-Old Little Girl walks\ninto the newly destroyed living room.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "The Bride STOPS the truck.\n\nTaking her flashlight with her, The Bride walks into the\nheadlight beams towards one rock on the ground in particular.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head." ], [ "Vernita moves to another kitchen cabinet, and pulls down a\nbox of the sugar cereal, \"Kaboom.\"", "As the two females continue to talk, Vernita reaches her hand\ninside the cereal box.", "bothered. I have to fix Nikki's\n cereal.\n\nAs they continue to talk, Vernita pulls down a cereal bowl\nfor her daughter and lays it on the kitchen counter.", "VERNITA\n Very funny.\n\nVernita FIRES A GUN from inside the cereal box at The\nBride....", "The Bride THROWS HERSELF ON THE FLOOR....\n\nVernita pulls the gun out of the cereal box and FIREES\nagain...", "She gets down on her knees, hacking away at the dirt with the\nhand pickaxe, till a large box covered in plastic is\nrevealed. She hoists it up out of the earth.", "THE BRIDE\n Oh. I'm quite positive you're\n sorry, now.\n\nVernita says to the Bride across the table furiously but with\nlow volume;", "Vernita says her name;\n\n\n\n VERNITA\n *(BLEEP)*", "THE BRIDE\n Do to your daughter, what you did\n to mine...\n (she takes her hand)\n ...I won't.\n\nVernita dies.", "VERNITA\n Look bitch, I need to know if\n you're gonna start anymore shit\n around my baby girl!", "VERNITA\n How bout tonight, bitch?\n\n\n\n THE BRIDE\n Spendid. Where?", "THE BRIDE\n -- Bitch, you can stop right there.\n\nThe B-word stops Vernita short, almost like a cold-handed\nslap in the face (it should affect the audience that way as\nwell).", "INT. PRIVATE AREA - DAY\n\nWhere you look isnide your safety deposit box by yourself.\n\nThe Bride opens up the first box...", "....It's filled w/ CASH.\n\nShe opens up the fourth box....", "Also in the box, is one COMPACT REFRIGERATOR CASE. She opens\nit, inside are 2 BEAUTIFUL HANDMADE GOLD SYRINGES and 1 VIAL\nOF FLUID.", "She rips off the plastic, revealing a large, green Army\nfootlocker, untouched by the condensation of being buried in", "The Bride complies. Karen bends down and picks the strip off\nthe floor. Then takes the package it came in and reads the\ndirections on the box.", "VERNITA\n Yes and no. Bill got in touch with\n me right after you woke up, and\n then again a little later after", "entering Vernita's abdomen.", "Vernita knows no matter what else is said, blood will spill.\n\n\n\n VERNITA\n When do we do this?" ], [ "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "The Bride, however, while she sees the Two Truckdrivers for\nwhat they are, when she sees The Orderly she sees Bill, when", "THE BRIDE\n Explain yourself.\n\n BILL\n I already have. When I told you the\n story of when I thought you were\n dead. Didn't you get how badly I\n felt?", "THE BRIDE\n You and I have unfinished business.\n\n\n\n BILL\n Baby, you ain't kidding.\n\nThey both laugh.", "BILL\n I'm sorry was that a question? Of\n impossible things that could never\n happen - yes in this instance you\n would have been wrong.\n\nThe Bride listens stoney, then;", "BILL\n Very good, gorgeous. Mommy is\n gorgeous.\n\nThe Bride shows no sign of thawing around Bill.", "THE BRIDE\n Where's Bill?\n\n\n\n THE ORDERLY\n (hurt and confused)\n Who?", "THE BRIDE\n I don't know...Because...I'm\n a...bad person.\n\nHe smiles at her duplicitly, and says with blood on his lips;", "SLAM!\n\nHe screams.\n\n THE BRIDE\n Bill! Where is Bill!", "BILL\n You know I was rooting for you,\n don't you?\n\n THE BRIDE\n I figured.", "BILL\nBut you never did.\n\n\n\n THE BRIDE\n- Would you shut up, I'm trying to\ntell you how I feel.", "THE BRIDE\n What?\n\n\n\n BILL\n Nothing. When he tells me you're\n done.", "THE ORDERLY\n Please please stop, don't hit me\n again!\n\n\n\n THE BRIDE\n Where is Bill?", "THE BRIDE\n Baby, you don't have a future.\n\nBill drinks some wine.", "She then removes the Bill handkerchief, and wipes Bill's\nblood from off the blade onto the white cloth.\n\nShe lets the Bill handkerchief drop onto his body.", "He then looks back to the Bride.\n\nHer eyes are waiting for his. She says with just the\nslightest hint of plea in her voice;", "INT. HOSPITAL CORRIDOR (THE BRIDE'S FLOOR) - NIGHT", "The Bride straightens herself in the driver's seat. She looks\nin the rearview as Bill and her daughter drive away. Grabbing\nthe cell phone she screams in it;", "SLAM!\n\nSuddenly The Bride sees the gold coke straw around his neck,\nthat she thought she'd seen earlier on Bill. She snatches it\nfrom around his neck." ], [ "on the bed, just as the three men enter her room.\nThey see just what they expected to see, The Bride lying in\nher bed in her coma.", "INT. THE COMATOSE BRIDE'S HOSPITAL ROOM - NIGHT\n\nThe CAMERA is in a corner of the ceiling, looking down on the\ncomatose Bride, who lies motionless in her bed.", "FADE UP ON\n\nCU The comatose Bride\nlying in her hospital bed, wide open unblinking sightless\neyes, that constantly stare yet see nothing. The Bride is at\nthe beginning of her comatose journey.", "since at this moment he's lying on the floor, looking up at\nThe comatose Bride asking him questions.", "INT. THE BRIDE'S HOSPITAL ROOM - NIGHT\n\nThe Bride, alone in her bed, alone in her coma, alone in her\nroom.", "CU The Bride in her coma CU the hospital's\n electrical doors -\n WOOSH - OPEN.", "The Bride decides the best course of action, till she gets\nher bearings, is to play possum. She throws herself back down", "THE BRIDE\n\n (to herself)\n Five years.\n\nShe counts again.", "FADE TO BLACK.\nOVER BLACK\nTITLE CARD:\n\n\n Chapter two\n\n The comatose Bride", "The Bride continues watching in gobsmackery.\n\nBill raises his head off the floor, and says to her in his\nnormal voice;", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "The BRIDE\nupon waking, without leaving the bed where she lay the last\nfive years, has just killed two men. She throws off the", "THE BRIDE (ENGLISH)\n She's alive! My baby girl's alive!\n\n CUT TO:", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "THE BRIDE\n Did she wake up?", "Left Side Right Side\nCU The Bride's unblinking The back of the yellow\ncomatose sleep. slicker - walking in the\n rain towards the\n hospital's entrance.", "While still in her CU The Bride speaks for the first time in\nthe picture. She looks up at the man standing over her and\nsays;", "CU The Bride\nher wide-open eyes, that have stared in a constant gaze for\nthe last five years,\nfinally...slowly...softly...shut.\n\nBEAT", "of Budd's pickup.\n\nThe BRIDE\nShe begins to come to from the shot in her arm.\nSome dried blood lies caked around her wounds. Rope binds her\nwrists tightly together in front of her.", "She exhausts herself. All this while, she's been screaming\nthe words we can't even imagine coming out of her mouth;\n\n\n\n THE BRIDE\n Help me." ], [ "...and her MOTHER being raped by the same men. When they\nfinish, they SHOOT her.\n\nLittle O-Ren watches, hidden from sight, withi the eyes and\nface of a stone.", "The Boss's screams cause TWO OF BOSS'S MEN to run into the\nroom, only to be SHOT DOWN by O-Ren, as she removes a gun\nfrom a holster strapped to her thigh.", "With a big \"Whoosh\" in the air, the blood of O-Ren's\nsubordinates fly off the blonde avenger's blade.\n\nThen saying to the foes who litter the ground.", "on my Death List, was still\n alive... she'd live in Japan. O-Ren\n Ishii, made her first acquaintance\n with death at the age of eleven.", "O-Ren\nher eyes narrow with rage. She screams out another order;\n\n\n\n O-REN (JAPANESE)\n Tear the bitch apart!", "THE BRIDE (V.O.)\n The mop tops in black suits and\n Kato masks were O-Ren's soldiers,", "THE BRIDE (O.S., JAPANESE)\n O-Ren Ishii! You and I have\n unfinished business!", "SUDDENLY O-Ren hears something. Like a deer in the forest,\nher head springs up on alert. It's almost as if she's\nlistening to The Bride's narration.", "THE BRIDE (JAPANESE)\n Any more subordinates for me to\n kill, O-Ren?\n\nMr. Barrel says;", "O-Ren's action instantly brings the room's frivolity to a\nhalt. Mistress Ishii silently orders Go Go and Yuki to\nretrieve the eavesdropper.", "O-Ren has just become the official leader of crime in the\ncity of Tokyo. The six Yakuza clan bosses, each with TWO", "O-Ren is UP, and wraps the chain around the Bride's neck and\nbegins to strangle.\n\nThe chain digs into the Bride's throat.", "The BOSSES react again...O-Ren;\n\n\n\n O-REN (JAPANESE)", "all criminal activity in Tokyo,\n Japan,... I'll tell you. The\n subject of O-Ren's blood and\n nationality came up before the", "The two bodyguard's, standing behind Boss Tanaka, hands go to\ntheir swords and draw them.\n\nO-Ren turns her blade in their direction.", "The Bosses all react with shock and outrage...O-Ren remains\ncool. She raises her voice for the first word, but lowers it\nfor the rest of the sentence.", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii.", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "O-Ren; Yuki is sixteen and Go Go is seventeen. Both girls are\ndressed in Japanese schoolgirl uniforms complete with plaid\nskirts and matching blazers.", "O-REN'S\nreaction shows how effective the element of surprise turned\nout to be. She says The Bride's name softly to herself; it's\nBLEEPED OUT." ], [ "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "The Bride shot up, pulls herself to the top of the stairs.\nShe sees Yuki lying at the bottom, dead.", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii.", "Go Go jumps on top of the Bride, attacking her with a samurai\nshort sword. The Bride uses the table leg to block it.", "Three more bullets rip into the Bride, the Bride fires up at\nYuki, hitting her three times in the body, knocking her off\nher feet, and sending her tumbling down the stairs.", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "It SLAMS BACK HITTING Karen in the face.\n\nThe Bride scrambles to her feet, running for cover.", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "They struggle for a moment...\n\n...TILL...\n\n...The Bride realizes Yuki's dead. She tosses her to the\nside.", "In the hail of bullets, the Bride tries to fire back.\n\nYuki reaches the end of the street and spins the car around.\n\nShe gets ready to make a third pass.", "The Bride, runs across lawns and hides behind parked cars on\nthe street, as the bullets rip up homes, lawns, and\nautomobiles.\n\nWhen Yuki's car reaches the end of the dead end,...", "THE BRIDE (V.O.)\n At twenty-three she joined Bill's\n Deadly Vipers...", "With the help of his cowboy boot he rolls The Bride over onto\nher stomach, exposing her butt.", "The Bride is a sitting duck. There's nothing she can do\nexcept wait to get shot.", "The Bride sits in the jeep, by herself, parked in front of\nthe Priest Pai Mei's home located high up on top of White\nLotus Mountain.", "Budd and Ernie stand over her.\n\nThe Bride just GLARES up at the two tormentors, with the only\nweapon she has left, the contempt in her stare.", "The Bride and B.B. in a motel room. They both wear bath\ntowels and both of their blonde heads are wet. The Bride sits\nbehind her on the bed, combing the little one's head.", "Like a discarded rag doll, Go Go Yubari TUMBLES down the\nstaircase landing in a pile at the Bride's feet. Dead before\nthe tumble began.", "THE BRIDE (V.O.)\n The mop tops in black suits and\n Kato masks were O-Ren's soldiers," ], [ "The Bride carries her\n stuff, the Hanzo sword,\n her money in a backpack,\n and her other stuff in a\n canvas duffle bag.", "The Bride walks down the row of Japanese steel, looking and\ntouching the shiny wood. She looks behind her to Hanzo who is\nstill by the trap door, and says;", "We cut back to Budd's side. And what he's holding is The\nBride's Hattori Hanzo sword.", "ELLE\n (referring to the sword)\n What's that?\n\n\n\n THE BRIDE\n Budd's Hanzo sword.", "When the Yubari sisters go back inside, the Bride climbs off\nher barstool and goes through the restaurant...into the\nparking area...and up to her rental car. She opens the door.", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "The Bride sits in the jeep, by herself, parked in front of\nthe Priest Pai Mei's home located high up on top of White\nLotus Mountain.", "The mention of a Hattori Hanzo sword gets Budd's attention.\n\n\n\n BUDD\n She got 'er a Hattori Hanzo sword?", "THE BRIDE\n This is Hattori Hanzo steel.\n\n\n\n O-REN (JAPANESE)\n YOU LIE!!", "The Bride, with her samurai sword in her hand, and her\nbackpack full of money, takes off running across a couple of\nfront lawns...\n\nYuki chases her with machine gun fire...", "Texas tear-ass music begins coming out of the camper....We\nsee his figure pass the camper window, once or twice.\n\nThe Bride chooses her weapon -- Hattori Hanzo's samurai", "...The arm, still gripping the samurai sword, drops to the\nfloor.\n\nThe Bride pushes the Hanzo Sword right through the middle of\nhis chest.", "The BRIDE\nBreeze blowing her blonde hair, holding her Hanzo sword in\nits sheath.", "The Bride Swings...\n\nThe Hanzo Sword Slices Miki's inferior blade in half. Miki\nlooks down at the impotent weapon in his hand.", "The BRIDE\nsearching under his bed, she sees a sword on the floor,\nresting in a shiny, black wood mahagony sheath. She removes\nit from its hiding place.", "Go Go jumps on top of the Bride, attacking her with a samurai\nshort sword. The Bride uses the table leg to block it.", "THE BRIDE (ENGLISH)\n Huge.\n\n\n\nINT. HATTORI HANZO'S ATTIC - DAY", "PAI MEI *\n Remove the sword.\n\nThe Bride removes a large heavy steel Chinese Sword.", "HANZO (JAPANESE)\n ...This is the first and cardinal\n rule of combat...\n\nThe Bride repeats this...", "On her belly, Hattori Hanzo sword in sheath in hand, she\ncrawls across the desert floor towards Budd's trailer.\n\nTHEN..." ], [ "O-Ren moves her arm in a counter-clockwise motion that\nloosens the grip enough to bring her sword handle hard into\nThe Bride's mouth...", "SUDDENLY O-Ren hears something. Like a deer in the forest,\nher head springs up on alert. It's almost as if she's\nlistening to The Bride's narration.", "O-Ren is UP, and wraps the chain around the Bride's neck and\nbegins to strangle.\n\nThe chain digs into the Bride's throat.", "O-Ren begins walking forward towards the Bride...She raises\nup her Sword, still in its sheath, in front of her face\nvertically...then begins slowly unsheathing it...Snow falls\naround her.", "The Combat Guitar starts again...As The Bride slowly rises\nout of the koi pond. She brings up her sword and Says Calmly\nto O-Ren in Japanese;", "O-Ren\nher eyes narrow with rage. She screams out another order;\n\n\n\n O-REN (JAPANESE)\n Tear the bitch apart!", "O-Ren looks down to her wound, then back up to The Bride. The\nrespect for the Bride's ability is transparent.\n\nThe Two Women Circle Stalk each other again...", "O-REN (ENGLISH)\n Silly rabbit...\n\nBoth O-Ren and the Bride finish the phrase together,...", "THE BRIDE (ENGLISH)\n (to O-Ren)\n You know, for a second there, yeah\n I did.\n\nO-Ren smiles...", "The Bride throws the ball and chain to the floor. Her eyes go\nto the last two remaining combatants...\n\n...Mr. Barrel and O-Ren Ishii.", "The BRIDE\nlooks up from the pond, across the length of the floor, into\nthe eyes of O-Ren Ishii.", "O-Ren goes in for the kill...The Bride meets her blade... The\nBlades Clash and Lock...The Two Women's faces come together\nas the Blades become entangled...", "O-Ren's action instantly brings the room's frivolity to a\nhalt. Mistress Ishii silently orders Go Go and Yuki to\nretrieve the eavesdropper.", "O-Ren moves out of the position she's stood in for the entire\nbattle. She steps on the doormat of a corpse, that serves the", "The Bride just smiles at her rival's response.\n\nO-Ren's composure returns.", "They struggle for a moment...\n\n...TILL...\n\n...The Bride realizes Yuki's dead. She tosses her to the\nside.", "O-REN\nstanding in between Go Go and Mr. Barrel. Her eyes narrow.\n\nThe BRIDE\nswipes the air with her sword, the blood of the dead\nattackers flies off.", "The Bride acts like she's embarrassed to witness what she\njust saw.\n\nMr. Barrel spins in O-Ren's direction shooting her a look\nshe's never seen from him before.", "The Boss's screams cause TWO OF BOSS'S MEN to run into the\nroom, only to be SHOT DOWN by O-Ren, as she removes a gun\nfrom a holster strapped to her thigh.", "The Bride does the one thing she has yet to do with any\nopponent during the movie up till now. Her head rears back\nand she lets out a SCREAM!" ], [ "The Bride hops out of the car, runs to the back, opens the\ntrunk, takes out Sofie's body, and rolls it down the\nhill....Sofie stops rolling in front of the entrance of the\nhuge hospital.", "SOFIE FATALE\nMinus an arm, lies curled up in the trunk of her MAZDA XOXO.\n\nThe BRIDE slams the trunk, SCREEN BOES BLACK...", "SOFIE\n Crazy.\n\nThe Bride takes this in...then moves on.", "The female assassin puts the phone away and looks down at The\ncomatose Bride with the open eyes. Even though her face is\nexpressionless, she almost seems to be smiling.", "leaves the restaurant, while Sofie makes her way to the\nbathroom...only to have The Bride, now dressed in her Bruce\nLee yellow outfit and samurai sword in her hand, bar her way.", "THE BRIDE (JAPANESE)\n Will she ever give up?\n\n\n\n SOFIE (JAPANESE)\n She won't have to. When she finds", "You bastard!\n\nThe Bride does a swipe in the air with her sword; Sofie's\nblood flies off the blade.", "THE BRIDE (JAPANESE)\n Yes, I am looking for the attorney\n of O-Ren Ishii, Sofie Fatale. Would\n that be you?", "THE BRIDE\n Do to your daughter, what you did\n to mine...\n (she takes her hand)\n ...I won't.\n\nVernita dies.", "SOFIE (JAPANESE)\n I'm Mistress Ishii's attorney. How\n can I help you?\n\nThe Bride PUNCHES her in the face.", "THE BRIDE (JAPANESE)\n I want information. Now gimme your\n arm.\n\nSofie offers up her remaining arm.", "They see O-Ren's lawyer, Sofie Fatale, standing in the middle\nof the restaurant, her left arm completely outstretched, hand", "It BURSTS...WE HEAR A SOUND, like of a tire blowout...\n\nHe falls to the beach...dead.\n\nThe Bride walks over to his body.", "SOFIE (JAPANESE)\n Yes.\n\n THE BRIDE (JAPANESE)\n I thought so. Give me the arm you\n have left.", "The Bride smiles at this and walks further inside. She\ndoesn't come across as one of the world's deadliest\nassassins, but instead as a sweet, slightly airheaded,\nAmerican tourist.", "Budd and Ernie stand over her.\n\nThe Bride just GLARES up at the two tormentors, with the only\nweapon she has left, the contempt in her stare.", "to my beautiful and brilliant\n Sofie.\n (pause)\n If you had to guess why she left\n you alive, what would be your", "The teardrop falls of her chin.\n\nHer journey, her revenge, her victory, her unfinished\nbusiness, is completed.\n\nThe Bride exits the beach.", "The Bride, still absentmindedly pointing her weapon at them,\nis truly thrown.\n\nBill delivers his lines from the floor, spoken like a dying\nbreath;", "Elle drops the Bride's sword.\n\nAs her blood continues to escape, both women look across each\nother." ] ]

[ "What does Bill do to the bride when she tells him that she is carrying his baby?", "Why does the bride agree to fight Vernita Green at a later time?", "What is in the box of cereal that Vernita Green has? ", "Why doesn't Bill allow Deadly Viper Elle driver to kill the bride at the hospital?", "Why does the bride kill the hospital worker? ", "Who is the Bride's first target? ", "Where does the bride go to obtain a sword?", "What has Hattori Hanzo vowed never to do? ", "Why does Hattori Hanzo decide to make the bride a sword?", "Who apologizes to the Bride?", "Who does the Bride vow to kill?", "Who forges the sword for the Bride?", "Who does the Bride torture for information about Bill?", "Why did the Bride travel to Japan?", "After she woke from the coma, what did the Bride teach herself?", "Why did the Bride kill the hospital worker?", "Where did Venita have a gun hidden?", "Does the Bride live after being shot by Bill?", "What happens after the Bride tells Bill she is carrying his child?", "What is the bride wearing when she is attacked by the Deadly Viper Assassination squad at the chapel?", "What stops the bride from immediately killing Vernita in her home?", "What does Vernita keep hidden in a box of cereal?", "Why does Bill decide not to go through with killing the bride in the hospital?", "How long is the bride comatose before walking up?", "Who killed O-Ren's parents?", "Who is the bride's first target from the Deadly Viper Assassination Squad?", "Where does the Bride travel to to obtain a sword from Hattori Hanzo?", "What does O-Ren do in the middle of dueling with The Bride that causes her to tear up?", "Why does the bride leave Sofie Fatale alive?" ]

[ [ "He shoots her", "Shoots her. " ], [ "Because she does not want to kill Vernita Green in front of her daughter ", "To not kill her in front of her young daughter. " ], [ "A pistol", "A pistol " ], [ "Because he considers it dishonorable to kill her when she can't defend herself", "Bill thinks The Bride deserves a more honorable death" ], [ "Because he had been raping her", "He was raping her while she was comatose. " ], [ "O-ren Ishii", "O-Ren Ishii" ], [ "Okinawa, Japan", "Okinawa" ], [ "Create another sword", "Never forge a sword again" ], [ "Because her target is Bill", "He learns her target is Bill. " ], [ "O-Ren.", "O-Ren apologizes. " ], [ "Bill and the members of the Deadly Viper Assassination Squad.", "Bill and 4 memebers of the Deadly Viper Assassination Squad" ], [ "Hattori Hanzo.", "Hattori Hanzo" ], [ "Sofie Fatale.", "Sofie Fatale" ], [ "To obtain a sword there.", "She goes to Japan to get a sword. " ], [ "How to walk again.", "To walk again" ], [ "He had been raping her while she was in a coma.", "he raped her" ], [ "She hid the gun in a box of cereal.", "cereal box" ], [ "She does survive.", "Yes" ], [ "He shoots her.", "Bill shoots her. " ], [ "A wedding dress", "A wedding dress. " ], [ "The arrival of Vernita's daughter, Nikki", "nikki" ], [ "A pistol", "a pistol" ], [ "Because she cannot defend herself", "she's defensless" ], [ "Four years", "Four years." ], [ "The Yakuza", "the yazuka" ], [ "O-Ren Ishii", "Vernita Green" ], [ "Okinawa, Japan", "Okinawa" ], [ "She apologizes to the bride.", "Apologizes to her. " ], [ "As a threat to send a message to Bill.", "As a threat. " ] ]

[ [ "reference to Jesus throughout the New Testament. And hence, even if we\nshould suppose or concede that the writers of the New Testament did\nreally believe him to be the great Infinite Spirit, or the almighty,", "incident and wonder-inciting miracle, doctrine and precept recorded\nin the New Testament, of the Christian's Savior. Surely, with so many\nSaviors the world cannot, or should not, be lost.", "THERE are many incidents related in the life of Christ, which, when\ncritically examined, furnish abundant evidence that he was what is now", "Christ Jesus.\" We have no doubt but that here is suggested one of the\ntrue causes of his elevation to the Deityship. Again he says, \"The world\nwas mightily bent on addressing their requests and supplications, not to", "2. Jesus Christ disclaims, hundreds of times over, directly or\nimpliedly, the inherent possession of any one of these divine\nattributes.", "Seeing, then, that the most important divine titles which the writers of\nthe New Testament have applied to Jesus were previously used in\napplication to men, known and admitted to be such, it is therefore at", "otherwise, and in other respects, the kind and loving Jesus. Though\nmost benignantly kind and affectionate while moving and acting under the", "53. Christ in the New Testament is called \"man,\" and \"the Son of\nman,\" eighty-four times,--egregious and dishonorable misnomers, most", "he healed her maladies. One of his first miracles was that of healing\na leper, like Christ (See Mark i. 4). Finally, he was crucified, then", "teachings of their New Testament (the Ramazand), comprehended in himself\n\"a full measure of the God-head bodily.\" The evidence of his having been", "WHEN Christians are asked for the proof of the divinity of Jesus Christ,\nthey point to his miracles and precepts, and the Messianic prophecies,", "qualities which the followers and worshippers of Jesus claim for him.", "Lord and Savior Jesus Christ.\" In the first place, allowing the question\nto be answered in the affirmative as to whether he was really a Savior,", "We will first exhibit a classification of the names and characteristics\nof this imaginary being drawn from the gospels and epistles of the", "ascribed by the Christian's bible to Jesus Christ; many of them,\nlike him, are reported to have been crucified; and all of them, taken\ntogether, furnish a prototype and parallel for nearly every important", "17. Manifested extraordinary wisdom in childhood.\n\n18. He was called \"the Son of God.\"\n\n19. Also \"the image of the Eternal Father manifested in the flesh.\"", "it upon the authority of a Christian writer, that he exhibited such a\nremarkable character, even in youth, as to attract the attention of all\nwho saw and heard him speak.\" And the author further testifies of", "13. He sometimes became weary, like human beings. (See John iv. 6.)\n\n14. He was occasionally tempted, like fallible mortals. (Matt. iv. 1.)", "To every observant and unbiased mind a strange contrast must be visible\nin the practical life of Jesus Christ when viewed in his twofold", "THE various deific titles applied to Jesus Christ in the New Testament\nare regarded by some Christian writers as presumptive evidence of his" ], [ "The Chinese Holy Interior Word was Om-i-to, and its principal\nincarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed", "in Nepaul.\" (See Georgius, p. 202.) The name of this incarnate God and\noriental Savior occurs frequently in the holy bibles and sacred books of", "In like manner the sacred writings of the ancient Thibetans speak of\n\"the Word which produced the world\"--an exact counterpart to John's", "Devaci (a Holy Virgin), and relieve the oppressed earth of its load of\nsin and sorrow.\" Much more similar language may be found in their holy", "Thibetan for the worship of the Hindoo Chrishna as a God, tells the\nwhole story of the worship and the deification of Jesus Christ \"We could", "The title Savior is found in the legends of every religious country. So\nalso God, Redeemer, and Mediator. \"When a Mogul or Thibetan is asked", "of fire upon his head.\" And the tradition of the visible manifestation\nof the Holy Ghost by fire was prevalent among the ancient Budhists,", "It is told of Budha Sakia of India that, \"as soon as he was born, a\nlight shone around his cradle, when he stood up and proclaimed his", "is all we have space for here. In the work just referred to may be found\nplates representing this Thibetan Savior as having been nailed to\nthe cross. There are five wounds, representing the nailholes and the", "incarnation was three thousand years ago, in the province of Cashmere,\nunder the name of Fot, or Beddou. He was believed to have sprung from", "are told twenty-eight lotus plants near his grave indicate the number\nof years he lived on the earth. After suffering a violent death, he\nwas buried, but rose again, ascended into heaven, and there became \"the", "severe discipline of the body and mind, and acquired the most complete\nsubjection of his passions. He was worshiped as a God who had existed\nas a spirit from all eternity, and his followers were called \"Heavenly", "holiness. He inculcated great tenderness toward all living beings. He\ncould walk upon the water or upon the air; he could foretell future\nevents with great accuracy. He practiced the most devout contemplation,", "the 'Holy One,' and finally the 'Living God.' He performed miraculous\ncures. At his birth a marvelous light illumined the earth. His followers", "the human form? Certainly the man who could believe that the infinite\nGod could be comprehended or incorporated in the person of Jesus, could\neasily be brought to believe that the Grand Lama of Thibet is a proper", "\"If we addressed a Mogul or Thibetan this question, Who is Chrishna?\nthe reply was, instantly, 'The Savior of men.'\" (Hue's Journey through\nChina.)", "16. Zoar of the Bonzes.\n\n17. Adad of Assyria.\n\n18. Deva Tat, and Sammonocadam of Siam.", "And a volume of facts and figures might be cited here, if we had space\nfor them, in proof of this statement A text from one of the Hindoo", "made.\" And parallel to this is the statement of the Chinese bible, that\n\"though the Holy Word (Chang-si) will be born upon the earth, yet he", "recognized as a divine personage, and it was predicted that he would\nsurpass all previous divine incarnations in holiness. Every one adored" ], [ "In conclusion, please note the following points:--", "CHAPTER XLV. CONCLUSION AND REVIEW.", "pointing to the same conclusion. It is a fact, and one of deep logical\nimport, and tending to corroborate the conclusion of some of the writers", "IN writing the concluding chapter of this work, the author deems it\nproper to re-state some points, and elaborate others, and anticipate", "ground with the branches of cocoa-nut trees, and desiring to hear him.\nHe addressed them in parables--the conclusion and moral of one of which,", "The Egyptian story runs thus: \"Osiris appeared on earth to benefit\nmankind, and after he had performed the duties of his mission, and had", "8. In conclusion, permit us to say that the numerous and overwhelming\nfacts of this work render it utterly impossible that the exalted claims", "reader will note the lesson it suggests. For certainly, every reader,\nwho has not had his reason shipwrecked on the shoals of a blind and", "37. Each disputed with and vanquished learned opponents.\n\n38. Both became objects of search by their parents.\n\n39. And both occasioned anxiety, if not sorrow, to their parents.", "Let the reader make a note of this fact--that the same story was told\nof the graves opening, and the dead rising at the final mortal exit of", "he became so angry because his vigilance had been deceived, that he\nimmediately poured out an enormous quantity of poison, which spread over\nthe whole earth.\" How much like this story is the story of St. John,", "We think the most reasonable conclusion in the case is, that Christ,\ninstead of performing those Munchausen prodigies attributed to him--such", "beings, there is nothing unreasonable in concluding that all were\" And\nif we take into consideration the true and indisputable fact that the\npriests had everything at their disposal, and the strongest motives for", "The Indian or Hindoo story is furnished us by the Rev. Father Bouchat,\nin a letter to the bishops of Avranches, and runs thus: \"Our Hindoos say", "And this historical analysis might be extended much farther if\nnecessary. But cases enough have been cited to prove the principle and\nestablish the proposition. And what is the lesson taught by these", "Before closing the chapter, we wish to call the attention of the reader\nto the important fact that three out of four of the cardinal doctrines\nof the Christian faith are taught in the two heathen mythological\nstories of creation just presented, viz.:--", "Here we have a series of events spoken of so strange, so unusual and\nso extraordinary that, had they occurred, they must have attracted the", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of", "observed that there was no other person concerned in the transaction but\nherself who could possess positive, absolute knowledge of the parentage.\nAnd she, let it be noted, settles the matter forever, by virtually", "reconciliation of the story with reason and common sense--with what\nsuccess the reader is left to judge." ], [ "And we are not informed that either of them ever saw or conversed with\nJoseph or Mary on the subject. It is probable they got it from Dame\nRumor, with her thousand tongues.", "The Indian or Hindoo story is furnished us by the Rev. Father Bouchat,\nin a letter to the bishops of Avranches, and runs thus: \"Our Hindoos say", "How, therefore, the reporter (Mark) found it out, when he was not\npresent, and none of the party were allowed to tell it to anybody, or\nwhy he should betray his trust by publishing it, if he was informed of", "The following brief exposition of the history and exploits of this\nanomalous, nondescript, chameleon-like being will clearly evince that", "We are told that Mary got it by an angel, and Joseph by a dream. And\nthrough these sources we have the whole groundwork and foundation of the\nstory of the divinity of Jesus Christ.", "age which knew him, and by an unprejudiced writer who witnessed all his\nmovements. And we are perfectly willing to risk our reputation in this\nlife, and our salvation in the next, by stating our conviction that this", "\"It is probable that every incident in his (Chrisna's) life is founded\nin fact, which, if separated from surrounding fable, would afford", "Here we have a series of events spoken of so strange, so unusual and\nso extraordinary that, had they occurred, they must have attracted the", "And similar stories are furnished us by several writers of Cæsar and\nAlexander the Great. With respect to the latter, Mr. Nimrod says, \"Six", "It is related both by the Grecian biographer Plutarch, in his life\nof Romulus, and by a Roman historian, that the great founder of Rome", "implacable enemy, and professes to write out the whole history of his\nwicked life in the most minute detail, devoting thirty-seven chapters of\nhis large work to this subject, and apparently enumerates every evil", "But his biographers, writing a long time after his death, supposing and\nassuming that this and various other texts, which they quote from the", "been practically before the people. The subject of their narrative had\nlong since gone to \"the house of many mansions,\" and left not a note, or", "A story is told of a rich merchant by the name of Purna, forsaking all\nto follow his lord and master; and also of his encountering and talking", "3. These marvelous facts were not usually recorded till long after the\nperiod in which they are said to have occurred, when the witnesses had\nleft the stage of time, and every event exciting ay attention had grown", "The history of this God is furnished us in fragments by several writers,\nportions of which will be found in other chapters of this work. The", "The Budhist, or Hindoo, version of the story is on this wise: \"The\nprince (of darkness), or evil spirit, Ravana, or Mahesa, got into a", "And we have still other testimony to corroborate this conclusion. The\nFrench writer Bazin says, \"The most ancient histories are those of Gods", "can be--and has been--mutilated. But the verity of this account rests\nupon no such a precarious basis. Its antiquity, reaching far beyond", "that relating to Jesus. Sir William Jones, Colonel Wilford, and the Rev.\nMr. Maurice all confess to the antiquity of this story, as originating" ], [ "Auguste Nichols tells us, in his \"Philosophical Essays on Christianity,\"\nthat Io is called, in Eschylus, \"the Chaste Virgin,\" and her son \"the", "31. Fohi and Tien of China.\n\n32. Adonis, son of the virgin Io of Greece.\n\n33. Ixion and Quirinus of Rome.", "the son of the beautiful virgin Cronis Celestine, and \"begotten by the\nFather of all Gods.\"", "arrive at the confines of Grecian theology, we find here the same train\nof marvelous events recorded in the histories of their virgin-born Gods,", "Reason.\" The immaculate conception of Juno of Greece is thus described\nby the poet:--", "twenty-five hundred years ago, born of virgins \"who knew no man.\" The\nmother of the mighty and the almighty God Hercules, we are told, \"knew\nonly Jove.\"", "evinced, may be classed with that of Juno of Greece. Here it may be\nnoted as a curious circumstance, that several of the virgin mothers\nof Gods and great men are specifically represented as going ten months", "uncontaminated with man--that is, a virgin. And thus, far back in the\nmidnight of mythology and fable, originated the story of divine Saviors", "of Cape Comorin, son of a virgin mother (as were all the other Saviors\nreferred to), and a carpenter by the name of Taishnea. (It will be", "\"The Indian incarnate God Chrishna, the Hindoos believe, had a virgin\nmother of the royal race, who was sought to be destroyed in his infancy", "claimed that he was begotten by the \"father of all Gods.\" Mr. Kenrick\ntells us the likeness of this virgin mother, with the divine child", "Mr. Higgins remarks that the mother was still held to be a virgin, even\nafter she had given birth to other children besides the deity-begotten", "every nation in the world.\" And Grote, referring to Greece, makes the\nremarkable declaration, that \"the furtive pregnancy of young women,\noften by a God, is one of the most frequently recurring incidents in", "cave at Bethlehem.\" Mr. Higgins further testifies that the worship of\nthis virgin God-mother (that is, the God and the mother) is of very", "Adonis of Greece was addressed as \"God Supreme,\" and Osiris of Egypt as\n\"the Lord of Life.\" In Phrygia, it was \"Lord Atys,\" as Christians say,", "conceived in the temple of Apollo, according to the statement of Nimrod,\nhis biographer. The virgin mother Shing-Mon of China furnishes another", "to deity as to lay to him the charge of begetting their children. The\nvirgin Alcmene furnishes a case of a young woman claiming God as the", "4. His mother (Pytheas) was a holy virgin of great moral purity.\n\n5. Plato's mother, Paretonia (says Olympiodorus), conceived him by the\nGod Apollo.", "with the masculine sex. Hence, nearly all the saviors were reputedly\nborn of virgins. And the process of birth, too, was out of the line of", "lost the immortality of her physical nature, it being transferred by\nthat act to her Deity-begotten son. And from this circumstance, Sakia" ], [ "God,\" and Thor of the Scandinavians was denominated \"the first-born Son\nof God\" and so was Chrishna of India, and other demigods.", "of God, said only that he was the _son of the sun_.\" (History of Mogul,\npage 65.)", "And yet Mr. Lempriere, D. D., tells us in his Classical Dictionary that\nhe was the son of Japetus. Sir Isaac Newton says he was a descendant of", "Son of God.\" (For other similar cases, see Guigne's History of the\nHuns.) Gonzales informs us he found on an ancient temple in India the", "tells us, upon the authority of the poet Panyasis, that he was a\nveritable son of Theias, king of Syria.", "Auguste Nichols tells us, in his \"Philosophical Essays on Christianity,\"\nthat Io is called, in Eschylus, \"the Chaste Virgin,\" and her son \"the", "Then entered Thrace--the Propontic shore;\n When mistress of her touch,\n God Mars she bore.\"", "the son of the beautiful virgin Cronis Celestine, and \"begotten by the\nFather of all Gods.\"", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "He is represented, like Christ:--\n\n1. As having been conceived and brought forth by a virgin.\n\n2. His life was sought by the reigning king (Amulius),", "calls him \"an incarnation of the son of God.\" But there is no intimation\nthroughout the Jewish Scriptures of the Jews ever having had a king or", "It requires, therefore, a wide stretch of faith to believe that\nJesus Christ was in any peculiar sense \"the Son of God,\" because so", "well as his son. Hence the corollary, _Jesus Christ was a grandson\nof God as well as a son of God_, and Jehovah both his father and\ngrandfather.", "remembered that Joseph, \"foster-father of Jesus,\" was a carpenter.) The\nstory of this \"Son of God\" presents several features very similar to", "4. Zulis, or Zhule, also Osiris and Orus, of Egypt.\n\n5. Odin of the Scandinavians.\n\n6. Crite of Chaldea.", "or assumed to invest himself with the skin of the lion, and this became\n\"the hero of the skin,\" or a hero with a new skin. Now this solar Herod,", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "8. Julius declares Alcides raised Tyndarus and Hippo-litus from the\ndead.\n\n9. When Zulis was crucified, the sun became dark and the moon refused to\nshine.", "Riquord as saying, this son of God \"was exhibited in effigy, lying in\na manger, in the same manner the infant Jesus was afterward laid in the", "The Chaldeans, as Mr. Higgins informs us, have noted in their sacred\nbooks the account of the crucifixion of a God with the above name. He" ], [ "The Chinese Holy Interior Word was Om-i-to, and its principal\nincarnation was Chang-ti or Ti-en-ti. The Japanese also proclaimed", "treasure up these facts. According to Chinese history there were two\nbeings--Tien and Chang-Ti--worshiped in that country as Gods more than", "made.\" And parallel to this is the statement of the Chinese bible, that\n\"though the Holy Word (Chang-si) will be born upon the earth, yet he", "severe discipline of the body and mind, and acquired the most complete\nsubjection of his passions. He was worshiped as a God who had existed\nas a spirit from all eternity, and his followers were called \"Heavenly", "Of Laotsi of China, it is said that when \"he had completed his mission\nof benevolence, he ascended bodily alive into the paradise above.\"", "Divine Savior Chang-ti of China, \"in order to attain to a more perfect\nstate of holiness,\" spent several years in retirement and \"divine", "Alvarez Semedo, in his \"History of China,\" page 89, speaks of a sect in\nthat country who worshiped a Savior known as Xaca, who was reputedly", "And the Chinese bible also contains a number of Messianic prophecies.\nIn one of the five volumes a prophecy runs thus: \"The Holy one, when he", "heaven were profoundly ignorant of oriental history, as the same figure\nis found in several heathen systems of older date, as we will now cite\nthe facts to prove.", "for their Gods and incarnate Saviors. The \"New York Correspondent,\"\npublished in 1828, furnishes us the following brief history of an\nancient Chinese God, known as Beddou:--", "Trinity as one of the leading tenets of the Christian faith, and as a\ndoctrine derived directly by revelation from heaven. But here we find\nit most explicitly set forth by a disciple of a pagan religion more", "Devaci (a Holy Virgin), and relieve the oppressed earth of its load of\nsin and sorrow.\" Much more similar language may be found in their holy", "in its mouth, on which was inscribed a prophecy of the event. And when\nthe young God (Chang-ti) was born, in fulfillment of this prophecy,", "For researches into oriental history reveal the remarkable fact that\nstories of incarnate Gods answering to and resembling the miraculous", "We learn by the oriental books, that in the district of country known\nas Orissa, in Asia, they have the story of a crucified God, known by", "men partially promoted to the honor of Gods. In the time-honored records\nof the oldest religion in the world, it is declared, \"A cloud surrounded", "heavenly music, and angels and shepherds attended the scene. (See\n\"History of China,\" by Martinus; also Halde's \"History of China.\")", "the Supreme God, as memorialized in several of the pagan traditions.\nThe last term (Holy Wind) is suggested by \"the mighty rushing wind from", "The origin of the tradition respecting this fabulous and mythical being\nis easily traced to the ancient Brahminical trifold conception of the", "1. In the first place, the Great Supreme God was believed to be too far\noff and too aristocratic to be on familiar terms with his subjects," ], [ "Ixion, 400 B. C., according to Nimrod, was crucified on a wheel, the\nrim representing the world, and the spokes constituting the cross. It is", "But of all the characters who figured in the mythological works or\nlawless rhapsodies of the ancients, and worshiped by them as crucified", "The Chaldeans, as Mr. Higgins informs us, have noted in their sacred\nbooks the account of the crucifixion of a God with the above name. He", "Auguste Nichols tells us, in his \"Philosophical Essays on Christianity,\"\nthat Io is called, in Eschylus, \"the Chaste Virgin,\" and her son \"the", "the Supreme God, as memorialized in several of the pagan traditions.\nThe last term (Holy Wind) is suggested by \"the mighty rushing wind from", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "the Holy Ghost (see Matt. i. 18), and we find similar claims instituted\nstill more anciently for other incarnate demigods. In the Mexican", "established belief in the ten sacred cycles which constitute the great\nprospective and portentous millennial epoch, as described in Chapter\nXXX. Arion, mentioned above, is represented as being both miraculously", "in \"The Holy Scriptures,\" which detail their histories, are traceable in\nthe skies. Herod, we are told, literally means hero of the skin--a term", "It is related also in the ancient legends, that the Savior or God\nXamalxis of Thrace, having died, and descended beneath the earth, and", "conceived by the \"Holy Wind.\" And the author of the \"Perennial Calendar\"\nspeaks of the miraculous conception of Juno Jugulis, \"the blessed virgin", "beings, and immolated them upon its bloody altars. And finally, to cap\nthe climax, it assumed the effrontery to drag a God off the throne", "6. And finally he is resurrected, and ascends back to heaven.\n\n\nIX.--(ÆSCHYLUS) PROMETHEUS CRUCIFIED, 547 B. C.", "of the candidate,\" says Mr. Cleland, speaking of the Celts, \"the Holy\nGhost, or Holy Spirit, was conveyed.\" And thus was the Holy Spirit,", "men partially promoted to the honor of Gods. In the time-honored records\nof the oldest religion in the world, it is declared, \"A cloud surrounded", "demigod Prometheus, crucified on his Scythian crags for his love to\nmortals.\" Here we have first-class authority for the crucifixion of this\noriental God.", "OF all the weird, fanciful, and fabulous stories appertaining to the\nGods and other spiritual entities of the olden times, whose capricious", "6. The sun was also darkened, and refused to shine.\n\n7. Both descended to hell, and rose from it by divine power.\n\n8. And Prometheus was seen to ascend to heaven.", "to deity as to lay to him the charge of begetting their children. The\nvirgin Alcmene furnishes a case of a young woman claiming God as the", "8. Julius declares Alcides raised Tyndarus and Hippo-litus from the\ndead.\n\n9. When Zulis was crucified, the sun became dark and the moon refused to\nshine." ], [ "Deity, in which stands, in Trinity order, first, the God of power or\nmight--Brahma or Brahm (the Father); second, the God of creation--the", "In like manner it is declared of an Egyptian God, that \"though he was\nborn into the world, he existed with his father God before the world was", "claimed that he was begotten by the \"father of all Gods.\" Mr. Kenrick\ntells us the likeness of this virgin mother, with the divine child", "to deity as to lay to him the charge of begetting their children. The\nvirgin Alcmene furnishes a case of a young woman claiming God as the", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "and a God for his father; that, although he was woman-conceived, he\nwas Deity-begotten, and molded in the human form, but comprehending in", "Greeks had a first God, and second God, and third God, and the second\nwas begotten by the first. And yet for all that,\" continues Mr.\nCudworth, \"they considered all these one.\"", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "of \"our Lord and Savior,\" Horus. And the earthly or adopted father\nof the Grecian Savior, and God, Alcides, had to flee with him and his", "The story of the crucifixion, therefore, whether true or false, deified\nor helped deify many great men and exalt them to the rank of Gods.", "77. Was one omnipotent, so was the other (so believed).\n\n78. And both are represented as being omnipresent.\n\n79. Each was believed to be divinely perfect.", "Trinity, Y, Zona was the father, Bacal the Word, and Eckvah the Holy\nGhost, by the last of whom Chimalman conceived and brought forth the", "OF all the weird, fanciful, and fabulous stories appertaining to the\nGods and other spiritual entities of the olden times, whose capricious", "More than twenty claims of this kind--claims of beings invested with\ndivine honor (deified)--have come forward and presented themselves at", "Many are the cases noted in history of young maidens claiming a\npaternity for their male offspring by a God.", "7. Zoroaster and Mithra of Persia.\n\n8. Baal and Taut, \"the only Begotten of God,\" of Phenicia.\n\n9. Indra of Thibet.", "And we have still other testimony to corroborate this conclusion. The\nFrench writer Bazin says, \"The most ancient histories are those of Gods", "That many of these fabulous conceptions were drawn from mythological\nsources will be made manifest by the following facts of history:--", "his divinity originated in the same manner the belief in theirs did,\nby which it is clearly shown to be a pagan derived doctrine. Several\nChristian writers admit the belief in earth-born Gods (called Sons of", "commencement of one of these Cycles. Hence the deification of those\npersonages above named, and many others that might be named. It is a\nremarkable circumstance that the Jewish bible should speak of Noah as" ], [ "3. Many of these Gods, like Christ, were (reputedly) born on the 25th of\nDecember.", "The twenty-fifth of December, then, it will be observed, was marked as\nthe birthday of the incarnated Gods, Saviors, and Sons of God, of many", "years in the past, on the contrary, most of the deific or divine\nincarnations of the heathen and their respective religions are, by the\nconcurrent and united verdict of all history, assigned a date several", "was forgotten. Consequently, the twenty-fifth of December was selected\nas his birthday, because it was the birthday of other Gods, and because\nit was regarded by the heathen, from time immemorial, as the birthday", "twenty-fifth of the month Savarana, which answers to our December, and\nmillions of his disciples celebrated his birthday by decorating their", "Now, let it be noted that all of these grand epochs were founded on\nCycles, and accompanied by the tradition of a God being born upon the", "most of the deified personages reported in history were, according to\nthe best authorities, born near the commencement of Cycles. Recurring\nback to the eighth Cycle, we observe the advent of that period of", "born on the twenty-fifth of December, according to their respective\nhistories. Chrishna is represented to have been born at midnight on the", "DIVESTED of all explanation, the announcement of the fact that the time\nof the birth of many of the incarnated Gods and Saviors of antiquity was", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "born. What day of the month, what year, or what century it took place\nin, is still unknown. This circumstance is, as before suggested,\nsufficient of itself to utterly prostrate all faith in the divine claims", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "Cycular tradition is found in the fact that many of them were born at\nthe commencement of Cycles. The Hindoos are able to recount the names", "of their Gods in the same manner Christians now celebrate it as the\nbirthday of Christ, we are driven to admit that something more than mere\nfortuitous accident must be adduced to account for the coincidence.", "nations celebrated the accouchement of the queen of heaven and celestial\nvirgin, and the birth of the God Sol, the Infant Savior, and the God of\nDay.\"", "CHAPTER VIII. THE TWENTY-FIFTH OF DECEMBER THE BIRTHDAY OF THE GODS.", "Christians assign for the birth of Christ. And Robert Taylor informs us\nthat nearly all the nations of the East were once in the habit of rising\nat midnight to celebrate the birthday of their Gods, on the twenty-fifth", "years, and cancel out all the sins committed in that period. And when\none of the three Gods on the throne of heaven was dragged down, or", "the Heavens,\" you will find the infant God-son (the sun) is represented\nas being born into a new year on the 25th of December (the very date" ], [ "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "Star,' which he is designated, the 'Teoteepall, or Divine Stone,'\nwhich was laid on his altar, and which was likewise an object of\nadoration,--all these circumstances, connected with many others relating", "of a cross, and facing the four cardinal points of the compass, which\nis admitted by all beholders as presenting the proof in bold relief of\nextreme age, and inside of this temple stands a statue of \"the Savior", "in which he was actually born was exhibited to the people.\" And upon the\nauthority of the Hierophant, we will add, the memories of many of them\nhave been consecrated and perpetuated by tombs placed beside their", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "Now, let it be noted that all of these grand epochs were founded on\nCycles, and accompanied by the tradition of a God being born upon the", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "DIVESTED of all explanation, the announcement of the fact that the time\nof the birth of many of the incarnated Gods and Saviors of antiquity was", "All these and a hundred corroboratory historical facts fix on India as\nbeing the birthplace of the mother of all religions now existing, or", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "Osiris's divinity was a blaze of light shining around his cradle soon\nafter he was born. Relative to Pythagoras of the same country, we have", "Among the sin-atoning Gods who condescended in ancient times to forsake\nthe throne of heaven, and descend upon the plains of India, through", "seemed to vie with each other in setting off the lives and histories of\ntheir favorite objects of worship respectively, with marvelous exploits\nand the pageantry of the most astounding prodigies. And the miracles", "14. Was born of a spotless virgin.\n\n15. There were demonstrations of joy and singing at his birth.\n\n16. Exhibited proofs in infancy of being a God.", "9. Several of them, like him, gave early proof of divinity.\n\n10. And, like him, retired from the world and fasted.", "\"The birthplace of the Hindoo hero (Chrishna) is called Mathura, which\nis easily changed, and by correct translation becomes Maturea, the place", "Here, seems to be plainly indicated the motives for assigning them to\nsuch a birth, and such a character.", "It is told of Budha Sakia of India that, \"as soon as he was born, a\nlight shone around his cradle, when he stood up and proclaimed his", "for hundreds of years passed current as divine authority, relates that\nChrist and his parents sojourned for a time at a place called Matarea,\nor Mathura, as Sir William Jones spells it, who says it was the birth", "impossible to know whence they originated, where they belonged, or to\nwhat God they appertained. These miraculous stories were so numerous,\nand so varied in character, that there was no little difficulty in" ], [ "long been going the rounds that the parents of a young God had to flee\nwith him out of the country, to save his life from being destroyed by\nits jealous ruler. This they supposed must of course refer to Jesus,", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "God and flee with him into Egypt, because \"Herod the king sought to\ndestroy the young child's life,\" and had, in order to effect this end,", "decreed the destruction of all the children under two years old. And\nJoseph heeded the divine warning, and fled as directed. An angel and a", "And hence we find several of the Saviors in very early childhood\ndisplaying great physical prowess in meeting and conquering danger,\nwhile others exhibit their superiority mentally by vanquishing their", "OF all the weird, fanciful, and fabulous stories appertaining to the\nGods and other spiritual entities of the olden times, whose capricious", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "the parents to flee from a danger which threatened to dispossess them of\na divine child, and the world of a Savior, but was condescending enough", "37. Each disputed with and vanquished learned opponents.\n\n38. Both became objects of search by their parents.\n\n39. And both occasioned anxiety, if not sorrow, to their parents.", "Cansa. 4th, That his parents had, consequently, to flee with him to\nGokul for safety. 5th, That all the young male children under two years", "histories are those of Gods who became incarnate in order to govern\nmankind. All those fables are the same in spirit, and sprang up\neverywhere from confused ideas, which have universally prevailed among", "the infant Savior should destroy him. The child escaped with his parents\nbeyond the coast of Lamouna. For a time he lived in obscurity, and then\ncommenced a public life distinguished for prowess and beneficence.", "1. In the first place, the Great Supreme God was believed to be too far\noff and too aristocratic to be on familiar terms with his subjects,", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "OF course, all Gods must be heroes--physically or intellectually, or\nboth. The more danger they encounter, and the earlier they manifest a\nprecocious or preternatural smartness, the more like Gods.", "in very early life. And which one of these will ultimately predominate\ndepends upon what priest they fall victims to first. Having thus the\ngerms of so many religious isms implanted in their minds, they are", "impossible to know whence they originated, where they belonged, or to\nwhat God they appertained. These miraculous stories were so numerous,\nand so varied in character, that there was no little difficulty in", "9. Several of them, like him, gave early proof of divinity.\n\n10. And, like him, retired from the world and fasted.", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "13. Beers in his \"History of the Jews,\" sustains the above statement by\nthe declaration that the Essenian Jews \"fled to Egypt at the time of the" ], [ "Before closing the chapter, we wish to call the attention of the reader\nto the important fact that three out of four of the cardinal doctrines\nof the Christian faith are taught in the two heathen mythological\nstories of creation just presented, viz.:--", "And the legend of Mithra, of Persia, might also be included in our\ncategory of comparison, if we had space for it. All the four Saviors", "seems to have existed in the shape of prophecy or fact in all ages of\nthe world. Hindooism teaches nine of these incarnations. Furthermore, it", "\"There is one Indian (Hindoo) legend of considerable importance\" says\nthis writer... \"This is the story of Chrishna, the Indian Apollo. In", "Some of the saviors or demigods of Egypt, India, Greece, Persia, Mexico\nand Etruria are represented as performing the same drama with the", "And now let us observe how substantially the Christian story of a Savior\nconforms to the above. Jesus, like the Saviors of India and Egypt, was", "whose antiquity antedates even the birth of Moses. We will first notice\nthe Persian tradition. \"According to the doctrine of the Persians,\" says", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "And as facts cited in other chapters prove beyond dispute that the\nHindoo system, containing this story, extends in antiquity far beyond\nthe time of Moses, the question is thus settled as to which system\nborrowed the story from the other.", "a system. Defects, then, may be found in both systems. In viewing the\nanalogies of the two religions, it should be noted that the Hindoos", "The origin of the tradition respecting this fabulous and mythical being\nis easily traced to the ancient Brahminical trifold conception of the", "antiquity. The historical vouchers are given. We shall first direct\nattention to the long string of corresponding events recorded in the\nsacred histories of ancient Hindoo Gods, as compared with those of Jesus", "That many of these fabulous conceptions were drawn from mythological\nsources will be made manifest by the following facts of history:--", "histories are those of Gods who became incarnate in order to govern\nmankind. All those fables are the same in spirit, and sprang up\neverywhere from confused ideas, which have universally prevailed among", "In corroboration of this statement we might cite many cases, if our\nspace would permit, from the religious records of India, Egypt, Persia,", "Jacolliot says, \"India gave civilization to the world.\" Egypt borrowed\nof India, the Greeks of the Egyptians, and the Jews and Christians are", "We will first quote St. Justin relative to the prevalence of the belief\namong the ancient Greeks and Romans. Addressing them, he says, \"The", "might be transformed into another being known as a secondary God. Both\nthe Jews and the Christians seem to have inherited this belief, as\nevinced by the foregoing quotations from their bible. The most ancient", "With respect to the vast antiquity of the Hindoo oriental religion,\nwhich indicates it as being not only the source from which the materials", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of" ], [ "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "Among the sin-atoning Gods who condescended in ancient times to forsake\nthe throne of heaven, and descend upon the plains of India, through", "OF all the weird, fanciful, and fabulous stories appertaining to the\nGods and other spiritual entities of the olden times, whose capricious", "1. In the first place, the Great Supreme God was believed to be too far\noff and too aristocratic to be on familiar terms with his subjects,", "visit and dwell with man, is an idea, which, as we read the writings of\nthe ancient heathen, meets us in a thousand different forms.\" If,", "having descended to the earth, taken upon themselves the form of men,\nand having been worshiped as veritable Gods.", "More than twenty claims of this kind--claims of beings invested with\ndivine honor (deified)--have come forward and presented themselves at", "Men and Gods were in character and conception so nearly alike, that it\nwas easy to bring them on a level, or to mistake one for the other. And", "years, and cancel out all the sins committed in that period. And when\none of the three Gods on the throne of heaven was dragged down, or", "A circumstance strongly confirming the conclusion that Cycular periods\nhad much to do with the promotion of men to the dignity of Gods is, that", "Here let it be noted as a curious chapter in sacred history that the\nnumerous divine Trinities which have constituted a part of nearly every", "77. Was one omnipotent, so was the other (so believed).\n\n78. And both are represented as being omnipresent.\n\n79. Each was believed to be divinely perfect.", "Mr. Higgins remarks that \"Among the ancients there seems to have been a\nvery general idea that the arrival of Gods and great personages who", "Hence, the Buddhists had their god _Vasus_ who manifested himself\nvariously in the shape or character of fire, wind, storms, gas,", "their deification of great men fit to be worshiped as Gods.\"... \"There\nwas a great inclination in mankind to the worship of a visible Deity.", "men by imagination into Gods. The Jews represented God not only as\na coming down from heaven in propria persona, and walking, talking,", "The story of the crucifixion, therefore, whether true or false, deified\nor helped deify many great men and exalt them to the rank of Gods.", "years in the past, on the contrary, most of the deific or divine\nincarnations of the heathen and their respective religions are, by the\nconcurrent and united verdict of all history, assigned a date several", "Gods, met and interchanged ideas, discussed their various dogmas,\nremolded their doctrines, and recast and rehabilitated their systems\nof religious faith by borrowing from each other, and from other systems", "exaltation to the deityship, and hence are not now worshiped as Gods." ], [ "4. Some readers, perhaps, will be surprised to observe that we have\nnamed so many crucified gods to whom some writers assign a different\ndeath. But we have followed, as we believe, the best authorities in\ndoing so.", "The story of the crucifixion, therefore, whether true or false, deified\nor helped deify many great men and exalt them to the rank of Gods.", "beings, and immolated them upon its bloody altars. And finally, to cap\nthe climax, it assumed the effrontery to drag a God off the throne", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "OF all the weird, fanciful, and fabulous stories appertaining to the\nGods and other spiritual entities of the olden times, whose capricious", "years, and cancel out all the sins committed in that period. And when\none of the three Gods on the throne of heaven was dragged down, or", "The conception of Gods coming down from heaven, and being born of\nvirgins, and dying a violent death for the moral blunders of the people,", "More than twenty claims of this kind--claims of beings invested with\ndivine honor (deified)--have come forward and presented themselves at", "We will now lay before the reader a brief account of the crucifixion of\nmore than a dozen virgin-born Gods and sin-atoning Saviors, predicated", "But of all the characters who figured in the mythological works or\nlawless rhapsodies of the ancients, and worshiped by them as crucified", "the favor of a presumed to be irascible deity. Most of these practices\nconsisted in some kind of sacrifice or destructive offering called the", "How many Gods who figured in Hindoo history suffered death upon the\ncross as atoning offerings for the sins of mankind is a point not", "clearly established by their sacred books. But the death of the God\nabove named, known as Sakia, Budha Sakia, or Sakia Muni, is distinctly", "years in the past, on the contrary, most of the deific or divine\nincarnations of the heathen and their respective religions are, by the\nconcurrent and united verdict of all history, assigned a date several", "We have shown, then, by the foregoing exposition, that one cause of the\ndeification of men was simply an attempt to solve the problem of", "Among the sin-atoning Gods who condescended in ancient times to forsake\nthe throne of heaven, and descend upon the plains of India, through", "Chrishna, Zoroaster 2d, Bali, Thammuz, Atys, Osiris, and several others.\nAt the commencement of the ninth Cycle appeared Sakia, Quexalcote,", "MANY cases are related by their respective sacred narratives of the\nancient Saviors, and other beings possessing the form of man, and", "Men and Gods were in character and conception so nearly alike, that it\nwas easy to bring them on a level, or to mistake one for the other. And", "Gods, Demigods, and crucified Saviors, it places a writer in a quandary\nto know where to begin to make a selection. We will express no opinion" ], [ "And this conclusion is corroborated by its being expressly stated in the\nGospel of Barnabas that \"Jesus Christ was not crucified, but was carried", "that Great One was. Some fixed on Herod, some on Julius Cæsar, and some\non others. But finally public opinion settled on one Jesus of Nazareth,", "We think the most reasonable conclusion in the case is, that Christ,\ninstead of performing those Munchausen prodigies attributed to him--such", "Christ Jesus.\" We have no doubt but that here is suggested one of the\ntrue causes of his elevation to the Deityship. Again he says, \"The world\nwas mightily bent on addressing their requests and supplications, not to", "THERE are many incidents related in the life of Christ, which, when\ncritically examined, furnish abundant evidence that he was what is now", "Jesus of Nazareth to the Godhead, and which we regard as settling the\nquestion as conclusively as any demonstrated problem in mathematics.\nThis argument is predicated upon the philosophical axiom, that two", "Lord and Savior Jesus Christ.\" In the first place, allowing the question\nto be answered in the affirmative as to whether he was really a Savior,", "of Jesus Christ has been or is likely to be universally conceded. On\nthe contrary, it is found that by a portion, and a large portion of the\npeople of even those nations now called Christian, this claim has", "Jesus Christ rose from the dead;\" while, as we may remark here, there\ncould not have been at that early date any grounds for denying these\nthings, had he really figured in the world in the miraculous and", "The evidence, then, is precisely of the same character as that offered\nin the case of Jesus Christ to prove that the pagan Saviors did really", "To every observant and unbiased mind a strange contrast must be visible\nin the practical life of Jesus Christ when viewed in his twofold", "Now, we ask, is it any wonder, in view of the foregoing historical\nexposition, that Eusebius should exclaim, \"The religion of Jesus", "Jesus, was to fill in names and dates. Yes, history with a hundred\ntongues proclaims it as the real explanation of the incredible and\nthe impossible in the history of Jesus Christ. And the evidence is so", "Hence, we are credibly informed that some of the earlier Christian\nsaints, having determined, like Paul, \"to know only Jesus Christ and him", "3. We have shown in this work that all the miraculous incidents related\nin the history of Jesus Christ as a proof of his divinity can find a", "fixed with certainty, notwithstanding the profound researches of the\nlearned.\" So that it is still an open question as to when Christ was", "convinced that they had simply mistaken a finite spirit for the great\nInfinite Spirit. And did Christ live in our day, he would probably be\nrescued from a similar error in the same way. In conclusion, we will", "The question is sometimes asked, How could two hundred millions of\npeople come to believe that Jesus was a God merely because of his\nsuperiority as a man? We will answer by pointing to the history of the", "Christ Jesus\" the Savior of the world. They claim to have been honored\nwith the birth of the true Savior among them, and defend this claim\nupon the ground of priority of date. They aver that the advent of their", "prone to such acts. It is not strange, therefore, that they should and\ndid convert \"the man Christ Jesus\" into a God. We will now listen to" ], [ "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "Among the sin-atoning Gods who condescended in ancient times to forsake\nthe throne of heaven, and descend upon the plains of India, through", "true divinity that I may address to him alone my vows and adorations.\"\nThe three Gods, Brahma, Vishnu, and Siva, becoming manifest to him,", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "visit and dwell with man, is an idea, which, as we read the writings of\nthe ancient heathen, meets us in a thousand different forms.\" If,", "Now, let it be noted that all of these grand epochs were founded on\nCycles, and accompanied by the tradition of a God being born upon the", "the heaven-born infant.\" Such a world-wide fame must have had the effect\nto attract, with the numerous crowd who thronged to see and worship him,\nno small number of \"wise men.\"", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "More than twenty claims of this kind--claims of beings invested with\ndivine honor (deified)--have come forward and presented themselves at", "most of the deified personages reported in history were, according to\nthe best authorities, born near the commencement of Cycles. Recurring\nback to the eighth Cycle, we observe the advent of that period of", "were likewise waited upon and adored by the neighboring shepherds; and\neven celestial spirits are reported in some instances as leaving their\nstar-gilt homes to wing their way to the humble mansion, the rude", "Mr. Higgins remarks that \"Among the ancients there seems to have been a\nvery general idea that the arrival of Gods and great personages who", "esteemed for her virtues and for being the mother of a God, that an\nescort of ladies attended her wherever she went. The trees bowed before\nher as she passed through the forest, and flowers sprang up wherever her", "and exclaimed, 'Lo! Chrishna's soul ascends to his native skies.'\"\nAnd it is further related that, \"attended by celestial spirits,.... he", "in which he was actually born was exhibited to the people.\" And upon the\nauthority of the Hierophant, we will add, the memories of many of them\nhave been consecrated and perpetuated by tombs placed beside their", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "nations celebrated the accouchement of the queen of heaven and celestial\nvirgin, and the birth of the God Sol, the Infant Savior, and the God of\nDay.\"", "becoming incarnate in order to govern mankind.\" Again he says, \"The\nidea sprang up everywhere from confused ideas of God, which prevailed\neverywhere among mankind that Gods formerly descended upon earth. The", "eclat at birth, as he was visited while yet in the cradle by a host of\nadmiring adorers. \"People flocked from all parts of the world to behold" ], [ "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "64. Both speak of having existed prior to human birth.\n\n65. A dual existence--an existence in both heaven and earth at once--is\nclaimed by or for both.", "Both Budha and Chrishna, of India, are reported as having been\nimmaculately conceived. The mother of the latter (God) was (as the", "14. The same peculiarities of a miraculous conception and birth are\nrelated of each.\n\n15. Each had an adopted earthly father.", "and Gods being born of virgins--a conception now found incorporated in\nthe religious histories of various ancient nations.", "these various Saviors, and which include a history of their lives\nand doctrines, that will go to show that in nearly all their leading\nfeatures, and mostly even in their details, they are strikingly similar.", "MANY cases are related by their respective sacred narratives of the\nancient Saviors, and other beings possessing the form of man, and", "born, and hence had their incarnate Gods sent into the world through\nhuman virgins, can any unbiased mind resist the conviction that this is", "And their respective disciples point to the same kind of evidence to\nprove their real existence and their divine character, and to prove\nthat they once walked and talked amongst men, as well as now sit on the", "1. There were many cases of the miraculous birth of Gods reported in\nhistory before the case of Jesus Christ.\n\n2 Also many other cases of Gods being born of virgin mothers.", "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "14. Was born of a spotless virgin.\n\n15. There were demonstrations of joy and singing at his birth.\n\n16. Exhibited proofs in infancy of being a God.", "Now, let it be noted that all of these grand epochs were founded on\nCycles, and accompanied by the tradition of a God being born upon the", "can be taught by an unostentatious birth--is a lesson taught by nearly\nall. Budha Sakia of Hindostan is directly traced through a royal\npedigree.", "9. Several of them, like him, gave early proof of divinity.\n\n10. And, like him, retired from the world and fasted.", "7. Many of them, like Christ, were claimed to be of royal or princely\ndescent.\n\n8. Their lives, like his, were also threatened in infancy by the ruler\nof the country.", "For researches into oriental history reveal the remarkable fact that\nstories of incarnate Gods answering to and resembling the miraculous", "And similar proofs of divinity at or near this age is found in the\nhistory of some of the pagan Saviors.", "In corroboration of this statement we might cite many cases, if our\nspace would permit, from the religious records of India, Egypt, Persia,", "the 'Holy One,' and finally the 'Living God.' He performed miraculous\ncures. At his birth a marvelous light illumined the earth. His followers" ], [ "character of Jesus Christ have been prevalent in most if not all the\nprincipal religious heathen nations of antiquity; and the accounts and\nnarrations of some of these deific incarnations bear such a striking", "And now let us observe how substantially the Christian story of a Savior\nconforms to the above. Jesus, like the Saviors of India and Egypt, was", "resemblance to that of the Christian Savior--not only in their general\nfeatures, but in some cases in the most minute details, from the legend", "nearly universal, that it must require a mind very ignorant of oriental\nhistory to adore Jesus Christ as having been the only character of this\nkind who figured in the religious world. It was, as before suggested,", "In the case of Chrishna of India, in particular, the similitude is very\nstriking in nearly every feature of the whole story.", "Christ's. 9. He was anointed with oil by women, like Christ. 10. A\nsomewhat similar fish story is told of him--his disciples being enabled", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of", "He is represented, like Christ:--\n\n1. As having been conceived and brought forth by a virgin.\n\n2. His life was sought by the reigning king (Amulius),", "remembered that Joseph, \"foster-father of Jesus,\" was a carpenter.) The\nstory of this \"Son of God\" presents several features very similar to", "setting forth the same doctrines, principles and precepts, and several\npersonages filling a chapter in history almost identical with that of\nJesus Christ, it is now known to those who are up with the discoveries", "several characteristics, is the Christian story. Matthew (ii. 1) speaks\nof \"wise men from the east\" journeying to Jerusalem to visit the infant", "MANY cases are related by their respective sacred narratives of the\nancient Saviors, and other beings possessing the form of man, and", "3. That Christ differs so little in his character, preaching, and\npractical life from some of the oriental Gods, that no person whose", "antetypes or archetypes of the coming Savior. Hence some of the more\nimportant incidents of their lives were hunted up and worked over again,", "reported of him in the Christian New Testament. All these stories of\nthe heathen Gods prove as conclusively as any scientific problem can be\ndemonstrated by figures, that the same stories related of Jesus Christ", "7. Many of them, like Christ, were claimed to be of royal or princely\ndescent.\n\n8. Their lives, like his, were also threatened in infancy by the ruler\nof the country.", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "these various Saviors, and which include a history of their lives\nand doctrines, that will go to show that in nearly all their leading\nfeatures, and mostly even in their details, they are strikingly similar.", "Christ. And like these and various other pagan Saviors Jesus is assigned\nthe highest and most ennobling human origin--a birth from a virgin. And,\nas in the instances above named, Jesus had also several encounters with", "For researches into oriental history reveal the remarkable fact that\nstories of incarnate Gods answering to and resembling the miraculous" ], [ "In the case of Chrishna of India, in particular, the similitude is very\nstriking in nearly every feature of the whole story.", "of the Hindoo God Chrishna. And so of the other miracles now found\nrelated as a part of the history of Jesus. A historical investigation of\nthe matter would have shown the Gospel writers that they were a part of", "And now let us observe how substantially the Christian story of a Savior\nconforms to the above. Jesus, like the Saviors of India and Egypt, was", "\"There is one Indian (Hindoo) legend of considerable importance\" says\nthis writer... \"This is the story of Chrishna, the Indian Apollo. In", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of", "strikingly similar to that of Christ. We will here present the proof.\n\"Abandoning the mortal form, he (Chrishna) appeared to his disciples in", "Note.--The author deems it proper to state here, with respect to the\ncomparison between Christ and Chrishna, that some of the doctrines which", "historical character of the Hindoo God Chrishna, and the essential\nnature of his religion, so far as it approximates in its doctrines\nand moral teachings to the Christian religion. We will first hear from", "Thibetan for the worship of the Hindoo Chrishna as a God, tells the\nwhole story of the worship and the deification of Jesus Christ \"We could", "Christ, p. 568.) Then the coincidence in this respect between Christ and\nChrishna may be set down as complete.", "character of Jesus Christ have been prevalent in most if not all the\nprincipal religious heathen nations of antiquity; and the accounts and\nnarrations of some of these deific incarnations bear such a striking", "serpent with his foot,\" and pronounces the striking similarity of this\nstory with that found in the Christian bible as \"very mysterious.\"\nAnother author tells us \"The image of Chrishna is sculptured in the", "3. That Christ differs so little in his character, preaching, and\npractical life from some of the oriental Gods, that no person whose", "and Savior\" and \"Son of God,\" Chrisna, was immaculately conceived and\nmiraculously born, according to Higgins, 1200 B. C.", "remembered that Joseph, \"foster-father of Jesus,\" was a carpenter.) The\nstory of this \"Son of God\" presents several features very similar to", "The missionary Rev. D. O. Allen's method of accounting for the\ndeification of the Hindoo God Chrishna is so suggestive, that we here", "'Parable plays a great part in the familiar instructions of this Hindoo\nRedeemer.'\" He relates a very interesting parable of a fisherman who", "a historical account of this man-god or demigod of the Hindoos, and\nomitting any allusion to his crucifixion; this was entirely left out,", "notice for the excellency of his morals and the acquisition of a\nworld-wide fame. In the following particulars his history bears a strong\nanalogy to that of Jesus Christ.", "Hindoo Chrishna, and by asking the same question with respect to his\nGodhead. How could three hundred millions of people be brought to" ], [ "him, saluting him as 'the God of Gods.' When twenty years of age he went\ninto a desert, and lived there in the austerest retirement, poverty,", "princes, and yet commencing their probationary life under the most\nhumble and adverse circumstances--being born in stables, caves, and\nother inauspicious situations.", "waves of the River Jumna to permit them to pass through on dry ground.\n5. The early retirement of Chrishna to a desert. 6. His baptism or", "several years in meditation and retirement in a cave, and was much given\nto fasting, and often inculcated the doctrine of \"forsaking the world\"", "It is said of \"the Son of God\" and Savior Chrishna that \"he imparted\nhis doctrines and precepts in the silent depths of the forest.\" Of the", "busy scenes of life, into some sequestered spot excluded from human\nobservation. Christ is reported to have withdrawn from society, and to\nhave spent some forty days in the wilderness fasting and being tempted", "manner. The Persian Zoroaster also spent several years in retirement and\n\"contemplation on true holiness\"--partly in a wilderness and partly on a", "In corroboration of this statement we might cite many cases, if our\nspace would permit, from the religious records of India, Egypt, Persia,", "Many other incidences are found related of him in his sacred biography,\nin which we find the most striking counterparts to the more modern", "Among the sin-atoning Gods who condescended in ancient times to forsake\nthe throne of heaven, and descend upon the plains of India, through", "meditation,\" the former in a wilderness, the latter on a mountain, and\nfasted, and their disciples after them often fasted in a very devout", "IN an age when Gods and men were on the most familiar terms, and when\nthe character of one furnished a transcript for the other, and when", "recommended the silent worship of God. He retired from the world, and\noften fasted, and was a great enemy to riches (like Jesus Christ). He", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of", "impossible to know whence they originated, where they belonged, or to\nwhat God they appertained. These miraculous stories were so numerous,\nand so varied in character, that there was no little difficulty in", "situated in different parts of the country, were seen to open and shut\ntheir eyes for the space of six or seven months, and that no less than\nsixty thousand people actually saw this miracle performed, including", "of this crucified God, bearing great age, may be found amid the ruins\nof the magnificent city of Mahabalipore, partially buried amongst the\nfigures of the temple.", "And their respective disciples point to the same kind of evidence to\nprove their real existence and their divine character, and to prove\nthat they once walked and talked amongst men, as well as now sit on the", "And similar stories are furnished us by several writers of Cæsar and\nAlexander the Great. With respect to the latter, Mr. Nimrod says, \"Six", "We learn by the oriental books, that in the district of country known\nas Orissa, in Asia, they have the story of a crucified God, known by" ], [ "We find the stars acting directly a conspicuous part at the births\nof several of the Saviors, besides figuring in some cases by marking\nimportant events in their subsequent history.", "a star is said to have foretokened the birth of the Roman Julius Cæsar.\nThe Chinese God Yu was not only heralded by a star, but conceived and", "journeys and at the births of Gods and great personages--a circumstance\nwhich aids in explaining the star chapter in the gospel history of\nChrist.", "the display of unusual and terror-exciting phenomena in the heavens, and\nthe other the birth of extraordinary men on earth. And it was natural\nfor an ignorant age to associate them together, and make one aid in", "OF course such an extraordinary circumstance as the birth of a God into\nthe world must be marked with unusual incidents and great eclat. This", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "his \"Comments on the Times of Plato,\" speaks of \"a star which presaged\nneither disease nor death, but the descent of a God amongst men, and", "In the case of Christ, it will be recollected, the star did not appear\ntill after his birth. But here the star is the author and agent of the\nconception.", "in \"The Holy Scriptures,\" which detail their histories, are traceable in\nthe skies. Herod, we are told, literally means hero of the skin--a term", "5. Stars figured at the birth of several of them, as in the case of\nChrist.\n\n6. Also angels, shepherds, and magi, or \"wise men.\"", "nations celebrated the accouchement of the queen of heaven and celestial\nvirgin, and the birth of the God Sol, the Infant Savior, and the God of\nDay.\"", "assigned for Christ's birth), and may be seen rising over the eastern\nhorizon, out of Mary, Maria, or Mare (the Latin for _sea_), with the", "men.\" The whole thing, then, is evidently an astronomical legend.", "their births.\" Hence the cant phrases, \"My stars,\" \"He is ill-starred,\"\netc., in use then, and still in use at the present day. The good or ill", "Gods, is of astrological origin--the story of Jesus Christ included. A\ncritical research shows that astronomy and religion were interblended,", "to notice. The virgin, with her God-begotten child, was pictured\nimaginarily in the heavens from time immemorial. They are represented on", "CHAPTER VI. STARS POINT OUT THE TIME AND THE SAVIORS' BIRTH-PLACE", "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "It is told of Budha Sakia of India that, \"as soon as he was born, a\nlight shone around his cradle, when he stood up and proclaimed his", "wise men\" of that country that a Savior would be born, \"attended by a\nstar at noonday.\" For a fuller exposition of this case see Chapter II." ], [ "severe discipline of the body and mind, and acquired the most complete\nsubjection of his passions. He was worshiped as a God who had existed\nas a spirit from all eternity, and his followers were called \"Heavenly", "'The people believed he was a God.' They eagerly caught the words which\nfell from his lips, which taught his divine mission, and they called him", "who were adored as incarnate divinities, among which may be included\nthe Christian's man-God, Jesus Christ. The practice of the followers of", "The question is sometimes asked, How could two hundred millions of\npeople come to believe that Jesus was a God merely because of his\nsuperiority as a man? We will answer by pointing to the history of the", "But he seems to have been more successful in the propagation of his\ndoctrines; for it is declared, \"he soon became surrounded by many", "followers always speak of him as one with God from all eternity.\"\n(Ibid.) His most common title was \"the Savior of the World.\" He was also", "life spread his fame throughout all India, and finally won for him\nmore than three millions of followers.\" \"He inculcated the sublimest\ndoctrines, and the purest morals, and the grand principles of charity", "believe in his divinity, and worship him as a God, merely because he was\na superior human being? One question is as easily answered as the other,\nand posterity will answer both questions alike. When we observe it", "was firmly established in the hearts of his followers.\" (Abridged from\nHardy's Manual of Budhism.)", "Godliness.\" And they claimed in their earlier history to be \"forerunners\nof the Messiah\"--a claim which would soon bring a Messiah before the", "And their respective disciples point to the same kind of evidence to\nprove their real existence and their divine character, and to prove\nthat they once walked and talked amongst men, as well as now sit on the", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "men partially promoted to the honor of Gods. In the time-honored records\nof the oldest religion in the world, it is declared, \"A cloud surrounded", "the reign of good, and redeem man from the consequences of the fall,\nand deliver the oppressed earth from its load of sin and suffering.\" His\ndisciples believed him to be God himself, and millions worshiped him as", "nation whose name and history has descended to us. Indeed, the practice\nof deifying men, or mistaking men for Gods, was once so common, so", "he did not possess this character. A God would be adored as such by\neverybody while living, but a man's worshipers rise up after his death,", "divinity. But the argument proves too much for the case; as we find the\nproof in history that many other beings, whom Christians regard as\nmen, were honored and addressed by the same titles, such as God, Lord,", "earnest followers, and the people in vast multitudes followed him,\ncrying aloud, 'This is indeed the Redeemer promised to our fathers.'\"", "histories are those of Gods who became incarnate in order to govern\nmankind. All those fables are the same in spirit, and sprang up\neverywhere from confused ideas, which have universally prevailed among", "In corroboration of this statement we might cite many cases, if our\nspace would permit, from the religious records of India, Egypt, Persia," ], [ "the heaven-born infant.\" Such a world-wide fame must have had the effect\nto attract, with the numerous crowd who thronged to see and worship him,\nno small number of \"wise men.\"", "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "OF course such an extraordinary circumstance as the birth of a God into\nthe world must be marked with unusual incidents and great eclat. This", "Now, let it be noted that all of these grand epochs were founded on\nCycles, and accompanied by the tradition of a God being born upon the", "with the masculine sex. Hence, nearly all the saviors were reputedly\nborn of virgins. And the process of birth, too, was out of the line of", "Both Budha and Chrishna, of India, are reported as having been\nimmaculately conceived. The mother of the latter (God) was (as the", "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "extraordinary event, must attend the occasion. And but for the influence\nof the philosophers, some extraordinary man would have been hunted up\nand promoted to divine honor as being the God born for that Cycle. The", "the sun or moon, or some other wonder-exciting phenomenon, a God was\nsupposed to be born. Such a marvelous and terror-inspiring event, in", "Mr. Higgins remarks that \"Among the ancients there seems to have been a\nvery general idea that the arrival of Gods and great personages who", "\"It was prophesied in olden times that a person would arise and redeem\nHindostan from 'the yoke of bondage.' At midnight, when the birth of", "of the birth of the Judean Savior. The Hindoo story is fuller, and\nindicates that the angel was not only sufficiently thoughtful to warn", "But to the line of history. Other Saviors at birth, we are told, were\nvisited by both angels and shepherds, also \"wise men,\" at least great", "the display of unusual and terror-exciting phenomena in the heavens, and\nthe other the birth of extraordinary men on earth. And it was natural\nfor an ignorant age to associate them together, and make one aid in", "that presented to the two divine infants Chrishna and Christ, according\nto their respective \"inspired\" biographers. (See Matt. ii. 4, and the\nRamayana).", "born, and hence had their incarnate Gods sent into the world through\nhuman virgins, can any unbiased mind resist the conviction that this is", "In like manner it is declared of an Egyptian God, that \"though he was\nborn into the world, he existed with his father God before the world was", "becoming incarnate in order to govern mankind.\" Again he says, \"The\nidea sprang up everywhere from confused ideas of God, which prevailed\neverywhere among mankind that Gods formerly descended upon earth. The", "men partially promoted to the honor of Gods. In the time-honored records\nof the oldest religion in the world, it is declared, \"A cloud surrounded", "princes, and yet commencing their probationary life under the most\nhumble and adverse circumstances--being born in stables, caves, and\nother inauspicious situations." ], [ "the proof of his being a God, that he could outvie the servants of God\nin every miraculous thing ascribed to them. This was one way adopted to\nprove his divinity.", "reported, as remotely as 900 B. C, as performing, besides several of\nthe miraculous achievements enumerated above, other miracles equally", "seemed to vie with each other in setting off the lives and histories of\ntheir favorite objects of worship respectively, with marvelous exploits\nand the pageantry of the most astounding prodigies. And the miracles", "'The people believed he was a God.' They eagerly caught the words which\nfell from his lips, which taught his divine mission, and they called him", "As the miracles of Christ seem to have had little effect toward\nconvincing the people of his claims to the godhead, it is evident they\ncould have been but little superior to those performed by others, and", "themselves the form of men, clothing themselves with human flesh,\nand furnishing incontestable evidence of a divine origin, by various\nmiracles, marvelous works, and superlative virtues; and finally these", "1. By the performance of various acts, transcending human power and the\nlaws of nature, called Miracles.", "8. Sometimes disappeared in a miraculous manner.\n\n9. Caused a tree to bloom, while Christ made another tree to wither\naway.\n\n10. The laws of nature obeyed him.", "exploits of Chrishna were supposed to \"exceed mere human power,\" we\nare told the difficulty was explained by imagining him to be a God. How", "29. The disciples of all the religious systems cited their initiatory\nmiracles as a proof of being on familiar terms with God Almighty. They", "His pathway was thickly strewn with miracles, which consisted in healing\nthe sick, curing lepers, restoring the dumb, deaf and the blind, raising", "controversy relative to his miracles serving the purpose of attesting\nhis divinity, especially when it is conceded that men, magicians, and\ndevils could achieve the same feats.", "situated in different parts of the country, were seen to open and shut\ntheir eyes for the space of six or seven months, and that no less than\nsixty thousand people actually saw this miracle performed, including", "was not a God, and not a very extraordinary man.\" Who can believe that a\nGod, from off the throne of heaven, could make his appearance on earth,\nand while performing the most astounding miracles ever recorded in", "3. He performed the miracles, according to Seneca and Hesiod, of curing\nthe sick, restoring the blind, raising the dead, and casting out devils.", "A circumstance involving pretty strong proof that Christ's miraculous\nachievements were not considered as evidence of his divinity, is the\nfact that they were frequently performed in private, sometimes in the", "THE age in which Christ flourished, as before remarked, was\npre-eminently an age of miracle. The practice of thaumaturgy, and the", "reported as witnessing them, and even their testimony is not given. We\nhave not the testimony of one person who claims to have been present and\nseen these wonders performed. Such facts are calculated to cast distrust", "Jesus performed this act six hundred years after. And a hundred other\nsimilar comparisons might be drawn. The evidence of the truth of these\nperformances in both cases, pagan and Christian, is simply the report", "night, and often under the injunction of secrecy. \"See thou tell no\nman,\" was the injunction, after the feat was performed, perhaps, in a\nprivate room. How can such facts be reconciled with the assumption that" ], [ "And hence we find it related in the history of several of the\nGod-begotten Saviors of antiquity, that as soon as they were born into", "37. Each disputed with and vanquished learned opponents.\n\n38. Both became objects of search by their parents.\n\n39. And both occasioned anxiety, if not sorrow, to their parents.", "9. Several of them, like him, gave early proof of divinity.\n\n10. And, like him, retired from the world and fasted.", "Hence, when the victim was reported to have submitted with such\nfortitude that no murmur was heard to issue from his lips, this\ncircumstance of itself was deemed sufficient evidence of his Godship.", "themselves the form of men, clothing themselves with human flesh,\nand furnishing incontestable evidence of a divine origin, by various\nmiracles, marvelous works, and superlative virtues; and finally these", "It is told of Budha Sakia of India that, \"as soon as he was born, a\nlight shone around his cradle, when he stood up and proclaimed his", "with it. And some person born at that period, who exhibited any\nremarkable or extraordinary trait of character, was certain to be\npromoted to the Godhead, as being miraculously born and brought forth", "endowed by him with divine power while yet mere children. Thus the\nhistories of all Gods and divine personages run in parallel grooves.", "7. Many of them, like Christ, were claimed to be of royal or princely\ndescent.\n\n8. Their lives, like his, were also threatened in infancy by the ruler\nof the country.", "He began, like Christ, to preach his gospel and heal the sick when about\ntwenty-eight years of age. And it is declared, \"the blind saw, the deaf", "And hence we find several of the Saviors in very early childhood\ndisplaying great physical prowess in meeting and conquering danger,\nwhile others exhibit their superiority mentally by vanquishing their", "by their respective disciples, but accounted for it by the childish\nexpedient of obsession. Christ was assumed to perform miracles by\ndivine power, they by the power of the devil--a childish and senseless", "baptised, and performed miraculous cures. And he, when a child,\nattracted attention by his miracles. While attending the herds with his", "A singular story, and yet a similar story, is told of the Indian Savior\nChrishna, who was, according to the Rev. Mr. Allen (India, p. 379) of", "And their respective disciples point to the same kind of evidence to\nprove their real existence and their divine character, and to prove\nthat they once walked and talked amongst men, as well as now sit on the", "the 'Holy One,' and finally the 'Living God.' He performed miraculous\ncures. At his birth a marvelous light illumined the earth. His followers", "4. Both these Gods were crucified amid signs, and wonders, and miracles.\n\n5. All nature was convulsed, and the saints arose when they were\ncrucified.", "incident to the lot of mortals, and this was to constitute one of the\nevidences of his emanation from the Deity--that is, of his supernatural", "14. Was born of a spotless virgin.\n\n15. There were demonstrations of joy and singing at his birth.\n\n16. Exhibited proofs in infancy of being a God.", "antiquity. The historical vouchers are given. We shall first direct\nattention to the long string of corresponding events recorded in the\nsacred histories of ancient Hindoo Gods, as compared with those of Jesus" ], [ "4. Some readers, perhaps, will be surprised to observe that we have\nnamed so many crucified gods to whom some writers assign a different\ndeath. But we have followed, as we believe, the best authorities in\ndoing so.", "The story of the crucifixion, therefore, whether true or false, deified\nor helped deify many great men and exalt them to the rank of Gods.", "We will now lay before the reader a brief account of the crucifixion of\nmore than a dozen virgin-born Gods and sin-atoning Saviors, predicated", "ascribed by the Christian's bible to Jesus Christ; many of them,\nlike him, are reported to have been crucified; and all of them, taken\ntogether, furnish a prototype and parallel for nearly every important", "In some countries, the story runs, a God was crucified by an arrow being\ndriven through his body, which fastened him to a tree; the tree,", "Speaking of this crucified Messiah, the Anacalypsis informs us that\nseveral histories are given of him, but all concur in representing", "he healed her maladies. One of his first miracles was that of healing\na leper, like Christ (See Mark i. 4). Finally, he was crucified, then", "7. Many of them, like Christ, were claimed to be of royal or princely\ndescent.\n\n8. Their lives, like his, were also threatened in infancy by the ruler\nof the country.", "These coincidences furnish still further proof that the tradition of the\ncrucifixion of Gods has been very long prevalent among the heathen.", "And now let us observe how substantially the Christian story of a Savior\nconforms to the above. Jesus, like the Saviors of India and Egypt, was", "specifically of the crucifixion of this God, as to name the circumstance\nof his being nailed to a tree. He also states, that before his exit he", "And it may be noted here, that the doctrine of salvation by crucifixion\nhad likewise, with most of the ancient forms of religious faith, an", "And thus the legend of the crucifixion became the crowning chapter, the\naggrandizing episode in the history of their lives. It was presumed that\nnothing less than a God could endure such excruciating tortures without\ncomplaining.", "How many Gods who figured in Hindoo history suffered death upon the\ncross as atoning offerings for the sins of mankind is a point not", "of dying in imitation of their crucified Lord, without experiencing,\nhowever, the desired promotion to divine honors. They failed of an", "who were adored as incarnate divinities, among which may be included\nthe Christian's man-God, Jesus Christ. The practice of the followers of", "The Chaldeans, as Mr. Higgins informs us, have noted in their sacred\nbooks the account of the crucifixion of a God with the above name. He", "The \"English Classical Journal\" (vol. xxxvii.) furnishes us with the\nstory of another crucified God, known as Alcestos--a female God or", "The crucifixion of this Roman Savior is briefly noticed by Mr. Higgins,\nand is remarkable for presenting (like other crucified Gods) several", "with a woman of low caste at a well, which reminds us of similar\nincidents in the history of Christ. But his enemies, becoming jealous\nand fearful of his growing power, finally crucified him near the foot" ] ]

[ "What is one of the traits of Jesus described in the New Testament?", "What is the name of a holy figure from Tibet?", "What was the main conclusion of the story?", "Who is the main source of information for this story?", "Who is the son of the virgin lo in Greece?", "Who is the son of Odin?", "Where is the holy figure Tien from?", "Where is the holy figure Ixion from?", "Who was the father of many of the deities?", "What is the date when many deities were born?", "What pointed to many of the deities birthplace?", "What did many of the dieties flee from as children?", "What does the mythos of the Hindus, Jews, and Greeks have in common?", "Where did many of the deities spend time?", "How did many of the deities die?", "What was concluded about Jesus?", "Who visited many of the deities at their birth?", "Many points of similarity among god-men in various religious traditions can be found, including what sorts of births? ", "Oftentimes, figures, central to different religious traditions, have story-lines and exhibit traits in common with which Christian figure?", "The striking similarities between Jesus's story and that of other god-men is the most striking when compared to which Hindu deity?", "Which barren location is a common feature in the stories of many god-men?", "What sort of celestial feature is a notable part of the birth of many god-men?", "Many god-men, throughout history, had followers, also called what? ", "In many god-men traditions, which two types of people arrive at the birth of the god-man? ", "Many god-men, performed seemingly impossible things, also called what?", "According to the stories of many god-men, their persecution and also the telltale signs of their divinity, began when?", "Many messiah-like god-men died in what way, also specific to the Christian tradition? " ]

[ [ "Miraculous virgin birth.", "miraculous virgin births" ], [ "Indra", "Indra." ], [ "Jesus was not a real person.", "Jesus was not a real person" ], [ "Godfrey Higgins.", "Godfrey Higgins" ], [ "Adonis", "Adonis" ], [ "Thor", "Thor" ], [ "China", "China" ], [ "Rome", "Rome." ], [ "They were the son of God.", "Jesus" ], [ "December 25th.", "December 25th" ], [ "Stars.", "Stars" ], [ "Death.", "Death" ], [ "All at bottom are the same.", "Crucified on a cross or tree then ascended into heaven." ], [ "In the desert.", "In the Desert" ], [ "They were crucified.", "Crucifixion." ], [ "That he was not a real person.", "Jesus was not a real person" ], [ "Shephards and magi.", "Sheperds and magi." ], [ "Miraculous, or virgin, births. ", "Miraculous or virgin births." ], [ "Jesus. ", "Krishna" ], [ "Krishna,", "Krishna" ], [ "A desert. ", "Desert" ], [ "A star. ", "A star that points to their birthplace." ], [ "Disciples. ", "Disciples" ], [ "Shepherds and magi. ", "Shepherds and Magi" ], [ "Miracles. ", "Deities" ], [ "In childhood. ", "At birth." ], [ "By Crucifixion. ", " crucified on cross or tree" ] ]

[ [ "Ferrars would be reformed, and her son be at liberty to be happy. But\nfrom such vain wishes she was forced to turn for comfort to the renewal", "By a former marriage, Mr. Henry Dashwood had one son: by his present\nlady, three daughters. The son, a steady respectable young man, was", "her only son, he was by no means her eldest; for while Robert was\ninevitably endowed with a thousand pounds a-year, not the smallest\nobjection was made against Edward's taking orders for the sake of two", "of their dear little boy would be impoverishing him to the most\ndreadful degree. She begged him to think again on the subject. How", "\"Why, to be sure,\" said her husband, very gravely, \"that would make\ngreat difference. The time may come when Harry will regret that so", "At last he turned round again, and regarded them both; she started up,\nand pronouncing his name in a tone of affection, held out her hand to", "takes place, depend upon it his mother will feel as much as if she had\nnever discarded him; and, therefore every circumstance that may\naccelerate that dreadful event, must be concealed from her as much as", "\"Yes; and heaven knows how much longer we may have to wait. Poor\nEdward! It puts him quite out of heart.\" Then taking a small miniature", "proud of his conquest, proud of tricking Edward, and very proud of\nmarrying privately without his mother's consent. What immediately\nfollowed is known. They passed some months in great happiness at", "\"I wished very much to call upon you yesterday,\" said he, \"but it was\nimpossible, for we were obliged to take Harry to see the wild beasts at", "children, the old Gentleman's days were comfortably spent. His\nattachment to them all increased. The constant attention of Mr. and\nMrs. Henry Dashwood to his wishes, which proceeded not merely from", "\"I am sorry to say, ma'am, in a most unhappy rupture:-- Edward is\ndismissed for ever from his mother's notice. He left her house", "And soon afterwards, on the second boy's violently pinching one of the\nsame lady's fingers, she fondly observed, \"How playful William is!\"", "\"I must not tell, ma'am. But I know very well what it is; and I know\nwhere he is too.\"", "at Gray's. She perceived him soon afterwards looking at herself, and\nspeaking familiarly to her brother; and had just determined to find out\nhis name from the latter, when they both came towards her, and Mr.", "Her family had of late been exceedingly fluctuating. For many years of\nher life she had had two sons; but the crime and annihilation of Edward", "great men or barouches. All his wishes centered in domestic comfort\nand the quiet of private life. Fortunately he had a younger brother\nwho was more promising.", "As such, however, they were treated by her with quiet civility; and by\nher husband with as much kindness as he could feel towards anybody\nbeyond himself, his wife, and their child. He really pressed them,", "to another. But at the same time, she could not help thinking that no\none could so well perform it as himself. It was an office in short,\nfrom which, unwilling to give Edward the pain of receiving an", "Edward's side, more particularly, there was a deficiency of all that a\nlover ought to look and say on such an occasion. He was confused,\nseemed scarcely sensible of pleasure in seeing them, looked neither" ], [ "\"Can anything be more galling to the spirit of a man,\" continued John,\n\"than to see his younger brother in possession of an estate which might\nhave been his own? Poor Edward! I feel for him sincerely.\"", "The old gentleman died: his will was read, and like almost every other\nwill, gave as much disappointment as pleasure. He was neither so", "to believe him rich. His estate had been rated by Sir John at about\nsix or seven hundred a year; but he lived at an expense to which that\nincome could hardly be equal, and he had himself often complained of", "in the first of John's, there had been this sentence:-- \"We know\nnothing of our unfortunate Edward, and can make no enquiries on so", "On this point Sir John could give more certain intelligence; and he\ntold them that Mr. Willoughby had no property of his own in the", "from his niece and her daughters. He meant not to be unkind, however,\nand, as a mark of his affection for the three girls, he left them a\nthousand pounds a-piece.", "takes place, depend upon it his mother will feel as much as if she had\nnever discarded him; and, therefore every circumstance that may\naccelerate that dreadful event, must be concealed from her as much as", "When Sir John returned, he joined most heartily in the general regret\non so unfortunate an event; concluding however by observing, that as", "to another. But at the same time, she could not help thinking that no\none could so well perform it as himself. It was an office in short,\nfrom which, unwilling to give Edward the pain of receiving an", "inheritor of the Norland estate, and the person to whom he intended to\nbequeath it. In the society of his nephew and niece, and their", "his only one twelvemonth. He survived his uncle no longer; and ten\nthousand pounds, including the late legacies, was all that remained for\nhis widow and daughters.", "Sir John, could not have thought it possible. \"A man of whom he had\nalways had such reason to think well! Such a good-natured fellow! He", "\"It is all very strange. So suddenly to be gone! It seems but the work\nof a moment. And last night he was with us so happy, so cheerful, so", "\"Wait for his having a living!--ay, we all know how THAT will\nend:--they will wait a twelvemonth, and finding no good comes of it,", "interest even equal to his own; and in short, it became speedily\nevident to both, that he had entirely supplanted his brother. He was", "together in the same room almost every day. Sir John could do no more;\nbut he did not know that any more was required: to be together was, in", "\"Certainly, there can be no difference; for Robert will now to all\nintents and purposes be considered as the eldest son;--and as to any", "brother that the power of receiving it had been made over some months\nbefore to another person. He imagined, and calmly could he imagine it,\nthat her extravagance, and consequent distress, had obliged her to", "father. Sir John Middleton, who called on them every day for the first\nfortnight, and who was not in the habit of seeing much occupation at\nhome, could not conceal his amazement on finding them always employed.", "But Sir John could not prevail. He could only obtain a promise of\ntheir calling at the Park within a day or two, and then left them in" ], [ "to him by his brother. He merely meant to persuade her to give up the\nengagement; and as there could be nothing to overcome but the affection\nof both, he naturally expected that one or two interviews would settle", "whatever promise she required; and at her request, Marianne engaged\nnever to speak of the affair to any one with the least appearance of\nbitterness;--to meet Lucy without betraying the smallest increase of", "But Sir John could not prevail. He could only obtain a promise of\ntheir calling at the Park within a day or two, and then left them in", "strike hands upon the bargain, and if Miss Dashwood will change her\nmind by and bye, why so much the better.\"", "The promise, therefore, was given, and must be performed. Something\nmust be done for them whenever they leave Norland and settle in a new\nhome.\"", "\"Fanny is in her own room, I suppose,\" said he:--\"I will go to her\npresently, for I am sure she will not have the least objection in the", "promised to hear him, and her curiosity no less than her honor was\nengaged. After a moment's recollection, therefore, concluding that\nprudence required dispatch, and that her acquiescence would best", "He had just settled this point with great composure, when the entrance\nof Mrs. John Dashwood put an end to the subject. But though SHE never", "brother, by the entrance of Mr. Robert Ferrars. After a few moments'\nchat, John Dashwood, recollecting that Fanny was yet uninformed of her", "reconciliation, I shall think that even John and Fanny are not entirely\nwithout merit.\"", "Mrs. Dashwood had been informed by her husband of the solemn promise on\nthe part of his son in their favour, which gave comfort to his last", "Fanny, rejoicing in her escape, and proud of the ready wit that had\nprocured it, wrote the next morning to Lucy, to request her company and", "as he declared a much greater willingness to make mean concessions by\nword of mouth than on paper, it was resolved that, instead of writing\nto Fanny, he should go to London, and personally intreat her good", "\"I shall have a charming account to carry to Fanny,\" said he, as he\nwalked back with his sister. \"Lady Middleton is really a most elegant", "consented to this increase of establishment, Marianne was shortly\nsubdued; and she promised not to tempt her mother to such imprudent\nkindness by mentioning the offer, and to tell Willoughby when she saw", "\"Perhaps it is to tell you that your cousin Fanny is married?\" said\nMrs. Jennings, without attending to her daughter's reproof.\n\n\"No, indeed, it is not.\"", "remembered that promise to Willoughby was yet unfulfilled, and feared\nshe had that to communicate which might again unsettle the mind of\nMarianne, and ruin at least for a time this fair prospect of busy", "\"Ah! Elinor,\" said John, \"your reasoning is very good, but it is\nfounded on ignorance of human nature. When Edward's unhappy match", "she DOES disapprove the connection, he dares not therefore at present\nconfess to her his engagement with Marianne, and he feels himself\nobliged, from his dependent situation, to give into her schemes, and", "propriety be fulfilled. Since he had neglected to do it on first\ncoming to the estate, their quitting his house might be looked on as\nthe most suitable period for its accomplishment. But Mrs. Dashwood" ], [ "They set off. Marianne had at first the advantage, but a false step\nbrought her suddenly to the ground; and Margaret, unable to stop\nherself to assist her, was involuntarily hurried along, and reached the\nbottom in safety.", "accident happened. He put down his gun and ran to her assistance. She\nhad raised herself from the ground, but her foot had been twisted in\nher fall, and she was scarcely able to stand. The gentleman offered", "of all manly dresses a shooting-jacket was the most becoming. Her\nimagination was busy, her reflections were pleasant, and the pain of a\nsprained ankle was disregarded.", "Marianne, which she eagerly caught from the servant, and, turning of a\ndeath-like paleness, instantly ran out of the room. Elinor, who saw as", "Marianne, to leave the others by themselves; and she really did it, and\nTHAT in the handsomest manner, for she loitered away several minutes on", "In this manner they had continued about a quarter of an hour, when\nMarianne, whose nerves could not then bear any sudden noise, was\nstartled by a rap at the door.", "\"Marianne is not well,\" said she. \"She has been indisposed all day,\nand we have persuaded her to go to bed.\"", "her safe off, returned to Marianne, whom she found attempting to rise\nfrom the bed, and whom she reached just in time to prevent her from\nfalling on the floor, faint and giddy from a long want of proper rest", "\"Where is Marianne? Has she run away because we are come? I see her\ninstrument is open.\"\n\n\"She is walking, I believe.\"", "Marianne, loud enough for them both to hear, \"I have found you out in\nspite of all your tricks. I know where you spent the morning.\"", "\"Not yet,\" cried the other, concealing her terror, and assisting\nMarianne to lie down again, \"but she will be here, I hope, before it is\nlong. It is a great way, you know, from hence to Barton.\"", "knees too, to persuade her to let them stay till they had packed up\ntheir clothes. THEN she fell into hysterics again, and he was so", "a slumber, when Marianne, suddenly awakened by some accidental noise in\nthe house, started hastily up, and, with feverish wildness, cried out,--", "quickened her pace and kept up with her. They were soon within thirty\nyards of the gentleman. Marianne looked again; her heart sunk within", "uncomfortable than before. Her sister, however, still sanguine, was\nwilling to attribute the change to nothing more than the fatigue of\nhaving sat up to have her bed made; and carefully administering the", "she thought would never cease. Edward, who had till then looked any\nwhere, rather than at her, saw her hurry away, and perhaps saw--or even", "Marianne had retreated as much as possible out of sight, to conceal her\ndistress; and Margaret, understanding some part, but not the whole of", "Marianne, now looking dreadfully white, and unable to stand, sunk into\nher chair, and Elinor, expecting every moment to see her faint, tried\nto screen her from the observation of others, while reviving her with\nlavender water.", "moment her mind was never quiet; the expectation of seeing him every\nhour of the day, made her unfit for any thing. She insisted on being\nleft behind, the next morning, when the others went out.", "Elinor advised her to lie down again, and for a moment she did so; but\nno attitude could give her ease; and in restless pain of mind and body" ], [ "In this manner they had continued about a quarter of an hour, when\nMarianne, whose nerves could not then bear any sudden noise, was\nstartled by a rap at the door.", "the grounds, and an evening merely cold or damp would not have deterred\nher from it; but a heavy and settled rain even SHE could not fancy dry\nor pleasant weather for walking.", "Most grateful did Elinor feel to Lady Middleton for observing, at this\nmoment, \"that it rained very hard,\" though she believed the", "accident happened. He put down his gun and ran to her assistance. She\nhad raised herself from the ground, but her foot had been twisted in\nher fall, and she was scarcely able to stand. The gentleman offered", "\"Marianne is not well,\" said she. \"She has been indisposed all day,\nand we have persuaded her to go to bed.\"", "They set off. Marianne had at first the advantage, but a false step\nbrought her suddenly to the ground; and Margaret, unable to stop\nherself to assist her, was involuntarily hurried along, and reached the\nbottom in safety.", "at Cleveland. With great surprise therefore, did she find herself\nprevented by a settled rain from going out again after dinner. She had\ndepended on a twilight walk to the Grecian temple, and perhaps all over", "knees too, to persuade her to let them stay till they had packed up\ntheir clothes. THEN she fell into hysterics again, and he was so", "When Elinor had ceased to rejoice in the dryness of the season, a very\nawful pause took place. It was put an end to by Mrs. Dashwood, who", "\"Where is Marianne? Has she run away because we are come? I see her\ninstrument is open.\"\n\n\"She is walking, I believe.\"", "in their own room after breakfast, which sunk the heart of Mrs.\nJennings still lower in her estimation; because, through her own\nweakness, it chanced to prove a source of fresh pain to herself, though", "who. So you may think what a blow it was to all her vanity and pride.\nShe fell into violent hysterics immediately, with such screams as", "A very restless and feverish night, however, disappointed the\nexpectation of both; and when Marianne, after persisting in rising,", "Marianne, which she eagerly caught from the servant, and, turning of a\ndeath-like paleness, instantly ran out of the room. Elinor, who saw as", "a slumber, when Marianne, suddenly awakened by some accidental noise in\nthe house, started hastily up, and, with feverish wildness, cried out,--", "forced by continual repetition on Marianne, she could stay no longer.\nWith a hasty exclamation of Misery, and a sign to her sister not to", "whole night, and she wept the greatest part of it. She got up with a\nheadache, was unable to talk, and unwilling to take any nourishment;", "Marianne gave a violent start, fixed her eyes upon Elinor, saw her\nturning pale, and fell back in her chair in hysterics. Mrs. Dashwood,", "Marianne had been two or three days at home, before the weather was\nfine enough for an invalid like herself to venture out. But at last a", "Marianne felt for her most sincerely; but she did more harm than good\nto the cause, by turning very red and saying in an angry manner to\nMargaret," ], [ "downs, the others cultivated and woody. The village of Barton was\nchiefly on one of these hills, and formed a pleasant view from the\ncottage windows. The prospect in front was more extensive; it", "Barton Park was about half a mile from the cottage. The ladies had\npassed near it in their way along the valley, but it was screened from", "whence she might judge, herself, whether Barton Cottage, for the houses\nwere in the same parish, could, by any alteration, be made comfortable\nto her. He seemed really anxious to accommodate them and the whole of", "As a house, Barton Cottage, though small, was comfortable and compact;\nbut as a cottage it was defective, for the building was regular, the", "Barton cottage, I hear, and mama sends me word they are very pretty,\nand that one of them is going to be married to Mr. Willoughby of Combe", "coming to Barton, lay before them; and on reaching that point, they\nstopped to look around them, and examine a prospect which formed the\ndistance of their view from the cottage, from a spot which they had", "\"How often did I wish,\" added he, \"when I was at Allenham this time\ntwelvemonth, that Barton cottage were inhabited! I never passed within", "The Dashwoods were now settled at Barton with tolerable comfort to\nthemselves. The house and the garden, with all the objects surrounding", "\"You reside in Devonshire, I think,\"--was his next observation, \"in a\ncottage near Dawlish.\"", "village, and the parsonage-house within a stone's throw. To my fancy,\na thousand times prettier than Barton Park, where they are forced to", "and I think the housekeeper told me could make up fifteen beds!--and to\nyou too, that had been used to live in Barton cottage!-- It seems quite", "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "town, when you are tired of Barton, without saying a word to Miss\nDashwood about it.\"", "he had now procured for his cottage at Barton. The Miss Dashwoods were\nyoung, pretty, and unaffected. It was enough to secure his good", "think necessary, if the situation pleased her. He earnestly pressed\nher, after giving the particulars of the house and garden, to come with\nher daughters to Barton Park, the place of his own residence, from", "As they approached Barton, indeed, and entered on scenes of which every\nfield and every tree brought some peculiar, some painful recollection,", "valley of Allenham, which issued from that of Barton, as formerly\ndescribed, the girls had, in one of their earliest walks, discovered an\nancient respectable looking mansion which, by reminding them a little", "Middleton was entirely unknown to Mrs. Dashwood, she preferred going\ndirectly to the cottage to being a visitor at Barton Park; and she", "would go with him to Barton. He is so droll! He never tells me any\nthing! I am so sorry we cannot stay longer; however we shall meet again\nin town very soon, I hope.\"", "Fortunately for her, they had now reached the cottage, and the\nconversation could be continued no farther. After sitting with them a" ], [ "About this time the two Miss Steeles, lately arrived at their cousin's\nhouse in Bartlett's Buildings, Holburn, presented themselves again", "Not so the Miss Steeles.--They came from Exeter, well provided with\nadmiration for the use of Sir John Middleton, his family, and all his", "Their departure took place in the first week in January. The\nMiddletons were to follow in about a week. The Miss Steeles kept their\nstation at the park, and were to quit it only with the rest of the\nfamily.", "nothing of Edward, and for some time nothing of anybody who could by\nany chance whether grave or gay, be interesting to her. But at last\nshe found herself with some surprise, accosted by Miss Steele, who,", "The visit of the Miss Steeles at Barton Park was lengthened far beyond\nwhat the first invitation implied. Their favour increased; they could", "\"Not in the stage, I assure you,\" replied Miss Steele, with quick\nexultation; \"we came post all the way, and had a very smart beau to", "happened to be particularly convenient to the Miss Steeles, as soon as\nthe Dashwoods' invitation was known, that their visit should begin a\nfew days before the party took place.", "The interest with which she thus anticipated the party, was soon\nafterwards increased, more powerfully than pleasantly, by her hearing\nthat the Miss Steeles were also to be at it.", "The Miss Steeles, as she expected, had now all the benefit of these\njokes, and in the eldest of them they raised a curiosity to know the", "To do him justice, he did every thing in his power to promote their\nunreserve, by making the Miss Steeles acquainted with whatever he knew", "lot, for as Sir John was entirely on the side of the Miss Steeles,\ntheir party would be too strong for opposition, and that kind of\nintimacy must be submitted to, which consists of sitting an hour or two", "by Edward. We can ask your sisters some other year, you know; but the\nMiss Steeles may not be in town any more. I am sure you will like", "Mr. Dashwood was convinced. He saw the necessity of inviting the Miss\nSteeles immediately, and his conscience was pacified by the resolution", "\"I am so glad to meet you;\" said Miss Steele, taking her familiarly by\nthe arm--\"for I wanted to see you of all things in the world.\" And", "The Miss Steeles removed to Harley Street, and all that reached Elinor\nof their influence there, strengthened her expectation of the event.", "the Miss Steeles, especially Lucy, they had never been so happy in\ntheir lives as this intelligence made them.", "had not travelled quite so fast, nor made such a long journey of it,\nfor they came all round by London upon account of some business, for\nyou know (nodding significantly and pointing to her daughter) it was", "Miss Steele was going to reply on the same subject, but the approach of\nher own party made another more necessary.", "the two Miss Steeles, by whom their company, in fact was as little\nvalued, as it was professedly sought.", "\"Oh,\" cried Miss Steele, looking significantly round at them, \"I dare\nsay Lucy's beau is quite as modest and pretty behaved as Miss\nDashwood's.\"" ], [ "\"I understand you,\" said Elinor. \"You have something to tell me of Mr.\nWilloughby, that will open his character farther. Your telling it will", "\"I hope not, I believe not,\" cried Elinor. \"I love Willoughby,\nsincerely love him; and suspicion of his integrity cannot be more", "Early in February, within a fortnight from the receipt of Willoughby's\nletter, Elinor had the painful office of informing her sister that he", "\"You mean,\" answered Elinor, with forced calmness, \"Mr. Willoughby's\nmarriage with Miss Grey. Yes, we DO know it all. This seems to have", "Mrs. Dashwood was sorry for what she had said; but it gave Elinor\npleasure, as it produced a reply from Marianne so expressive of\nconfidence in Willoughby and knowledge of his intentions.", "\"You are mistaken, Elinor,\" said she warmly, \"in supposing I know very\nlittle of Willoughby. I have not known him long indeed, but I am much", "made me acquainted with his earnest, tender, constant, affection for\nMarianne. He has loved her, my Elinor, ever since the first moment of\nseeing her.\"", "candid in my judgment of every body. Willoughby may undoubtedly have\nvery sufficient reasons for his conduct, and I will hope that he has.\nBut it would have been more like Willoughby to acknowledge them at", "the sake of every one concerned in it, make it unfit to become the\npublic conversation. I must do THIS justice to Mr. Willoughby--he has\nbroken no positive engagement with my sister.\"", "Marianne heard enough. In one moment her imagination placed before her\na letter from Willoughby, full of tenderness and contrition,", "These words, which conveyed to Elinor a direct avowal of his love for\nher sister, affected her very much. She was not immediately able to", "Willoughby, where was your heart when you wrote those words? Oh,\nbarbarously insolent!--Elinor, can he be justified?\"", "referring her to the letter of comfort. But the letter, when she was\ncalm enough to read it, brought little comfort. Willoughby filled\nevery page. Her mother, still confident of their engagement, and", "\"At last we are alone. My Elinor, you do not yet know all my\nhappiness. Colonel Brandon loves Marianne. He has told me so himself.\"", "course, watched by her till this excess of suffering had somewhat spent\nitself, and then turning eagerly to Willoughby's letter, read as\nfollows:", "That such letters, so full of affection and confidence, could have been\nso answered, Elinor, for Willoughby's sake, would have been unwilling", "\"You are very wrong, Mr. Willoughby, very blamable,\" said Elinor, while\nher voice, in spite of herself, betrayed her compassionate emotion;", "\"We are assured of it.\"\n\n\"Your poor mother, too!--doting on Marianne.\"\n\n\"But the letter, Mr. Willoughby, your own letter; have you any thing to\nsay about that?\"", "Nothing could be more expressive of attachment to them all, than\nWilloughby's behaviour. To Marianne it had all the distinguishing", "\"Concealing it from us! my dear child, do you accuse Willoughby and\nMarianne of concealment? This is strange indeed, when your eyes have\nbeen reproaching them every day for incautiousness.\"" ], [ "She could easily conceive that marriage might not be immediately in\ntheir power; for though Willoughby was independent, there was no reason", "Willoughby could not hear of her marriage without a pang; and his\npunishment was soon afterwards complete in the voluntary forgiveness of", "candid in my judgment of every body. Willoughby may undoubtedly have\nvery sufficient reasons for his conduct, and I will hope that he has.\nBut it would have been more like Willoughby to acknowledge them at", "Nothing could be more expressive of attachment to them all, than\nWilloughby's behaviour. To Marianne it had all the distinguishing", "That some kind of engagement had subsisted between Willoughby and\nMarianne she could not doubt, and that Willoughby was weary of it,", "Marianne's affection for Willoughby, could leave no hope of Colonel\nBrandon's success, whatever the event of that affection might be, and\nat the same time wished to shield her conduct from censure, she thought", "the sake of every one concerned in it, make it unfit to become the\npublic conversation. I must do THIS justice to Mr. Willoughby--he has\nbroken no positive engagement with my sister.\"", "which had been rather more painfully extorted from her, for\nWilloughby's service, by her mother. His want of spirits, of openness,\nand of consistency, were most usually attributed to his want of", "\"You mean,\" answered Elinor, with forced calmness, \"Mr. Willoughby's\nmarriage with Miss Grey. Yes, we DO know it all. This seems to have", "\"One observation may, I think, be fairly drawn from the whole of the\nstory--that all Willoughby's difficulties have arisen from the first", "On this point Sir John could give more certain intelligence; and he\ntold them that Mr. Willoughby had no property of his own in the", "Marianne heard enough. In one moment her imagination placed before her\na letter from Willoughby, full of tenderness and contrition,", "\"Mr. Willoughby, you OUGHT to feel, and I certainly DO--that after what\nhas passed--your coming here in this manner, and forcing yourself upon", "\"Upon my soul it is,\"--was his answer, with a warmth which brought all\nthe former Willoughby to her remembrance, and in spite of herself made\nher think him sincere.", "Marianne coloured, and replied very hastily, \"Where, pray?\"--\n\n\"Did not you know,\" said Willoughby, \"that we had been out in my\ncurricle?\"", "Willoughby, he, whom only half an hour ago she had abhorred as the most\nworthless of men, Willoughby, in spite of all his faults, excited a", "that had passed, her suspicions of Willoughby's inconstancy, urging her\nby every plea of duty and affection to demand from Marianne an account\nof her real situation with respect to him.", "referring her to the letter of comfort. But the letter, when she was\ncalm enough to read it, brought little comfort. Willoughby filled\nevery page. Her mother, still confident of their engagement, and", "of too much pleasure to himself to be relinquished, and he was really\nresolved on seeking an intimacy with that gentleman, and promoting the\nmarriage by every possible attention. He had just compunction enough", "This was the season of happiness to Marianne. Her heart was devoted to\nWilloughby, and the fond attachment to Norland, which she brought with" ], [ "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "In a very few weeks from the day which brought Sir John Middleton's\nfirst letter to Norland, every thing was so far settled in their future\nabode as to enable Mrs. Dashwood and her daughters to begin their\njourney.", "children, the old Gentleman's days were comfortably spent. His\nattachment to them all increased. The constant attention of Mr. and\nMrs. Henry Dashwood to his wishes, which proceeded not merely from", "\"Certainly,\" returned Mrs. John Dashwood. \"But, however, ONE thing\nmust be considered. When your father and mother moved to Norland,", "alteration in his home; for to supply her loss, he invited and received\ninto his house the family of his nephew Mr. Henry Dashwood, the legal", "By a former marriage, Mr. Henry Dashwood had one son: by his present\nlady, three daughters. The son, a steady respectable young man, was", "with some earnestness, to consider Norland as their home; and, as no\nplan appeared so eligible to Mrs. Dashwood as remaining there till she\ncould accommodate herself with a house in the neighbourhood, his", "Mr. John Dashwood told his mother again and again how exceedingly sorry\nhe was that she had taken a house at such a distance from Norland as to", "Many were the tears shed by them in their last adieus to a place so\nmuch beloved. \"Dear, dear Norland!\" said Marianne, as she wandered", "She concluded with a very kind invitation to Mr. and Mrs. John Dashwood\nto visit her at Barton; and to Edward she gave one with still greater", "\"To be sure,\" said she, \"it is better than parting with fifteen hundred\npounds at once. But, then, if Mrs. Dashwood should live fifteen years\nwe shall be completely taken in.\"", "Mr. Dashwood's disappointment was, at first, severe; but his temper was\ncheerful and sanguine; and he might reasonably hope to live many years,", "Mrs. Dashwood was denied; but before the carriage could turn from the\nhouse, her husband accidentally came out. He expressed great pleasure", "Mrs. John Dashwood now installed herself mistress of Norland; and her\nmother and sisters-in-law were degraded to the condition of visitors.", "No sooner was his father's funeral over, than Mrs. John Dashwood,\nwithout sending any notice of her intention to her mother-in-law,", "\"Other great and inevitable expenses too we have had on first coming to\nNorland. Our respected father, as you well know, bequeathed all the", "Mrs. Dashwood and her daughters were met at the door of the house by\nSir John, who welcomed them to Barton Park with unaffected sincerity;", "home was at Allenham, from whence he hoped she would allow him the\nhonour of calling tomorrow to enquire after Miss Dashwood. The honour\nwas readily granted, and he then departed, to make himself still more", "As the Miss Dashwoods entered the drawing-room of the park the next\nday, at one door, Mrs. Palmer came running in at the other, looking as", "An opportunity was soon to be given to the Dashwoods of debating on the\nrest of the children, as Sir John would not leave the house without\nsecuring their promise of dining at the park the next day." ], [ "In a very few weeks from the day which brought Sir John Middleton's\nfirst letter to Norland, every thing was so far settled in their future\nabode as to enable Mrs. Dashwood and her daughters to begin their\njourney.", "Sir John had been very urgent with them all to spend the next day at\nthe park. Mrs. Dashwood, who did not chuse to dine with them oftener", "No sooner was her answer dispatched, than Mrs. Dashwood indulged herself\nin the pleasure of announcing to her son-in-law and his wife that she", "\"Certainly,\" returned Mrs. John Dashwood. \"But, however, ONE thing\nmust be considered. When your father and mother moved to Norland,", "Mrs. Dashwood's visit to Lady Middleton took place the next day, and\ntwo of her daughters went with her; but Marianne excused herself from", "Mrs. Dashwood was prudent enough to remain at the cottage, without\nattempting a removal to Delaford; and fortunately for Sir John and Mrs.", "her attitude, inquired in a hurried manner after Mrs. Dashwood, and\nasked how long they had been in town. Elinor was robbed of all", "As soon as Mrs. Dashwood had recovered herself, to see Marianne was her\nfirst desire; and in two minutes she was with her beloved child,", "will of his mother. But Mrs. Dashwood was alike uninfluenced by either\nconsideration. It was enough for her that he appeared to be amiable,", "Elinor scolded him, harshly as ladies always scold the imprudence which\ncompliments themselves, for having spent so much time with them at\nNorland, when he must have felt his own inconstancy.", "So acutely did Mrs. Dashwood feel this ungracious behaviour, and so\nearnestly did she despise her daughter-in-law for it, that, on the", "The Miss Dashwoods had now been rather more than two months in town,\nand Marianne's impatience to be gone increased every day. She sighed", "Mrs. Dashwood and her daughters were met at the door of the house by\nSir John, who welcomed them to Barton Park with unaffected sincerity;", "and Mrs. Dashwood. He dared not come to Bartlett's Buildings for fear\nof detection, and though their mutual impatience to meet, was not to be", "Mrs. Dashwood, whose terror as they drew near the house had produced\nalmost the conviction of Marianne's being no more, had no voice to", "Mrs. Dashwood did not hear unmoved the vindication of her former\nfavourite. She rejoiced in his being cleared from some part of his", "Mrs. Dashwood now took pains to get acquainted with him. Her manners\nwere attaching, and soon banished his reserve. She speedily", "No sooner was his father's funeral over, than Mrs. John Dashwood,\nwithout sending any notice of her intention to her mother-in-law,", "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "Miss Dashwood, by every argument in her power;--told him, that in Miss\nMorton he would have a woman of higher rank and larger fortune;--and" ], [ "In a very few weeks from the day which brought Sir John Middleton's\nfirst letter to Norland, every thing was so far settled in their future\nabode as to enable Mrs. Dashwood and her daughters to begin their\njourney.", "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "\"Certainly,\" returned Mrs. John Dashwood. \"But, however, ONE thing\nmust be considered. When your father and mother moved to Norland,", "Mrs. Dashwood and her daughters were met at the door of the house by\nSir John, who welcomed them to Barton Park with unaffected sincerity;", "Mrs. Dashwood was prudent enough to remain at the cottage, without\nattempting a removal to Delaford; and fortunately for Sir John and Mrs.", "for her mother and sisters spent much more than half their time with\nher. Mrs. Dashwood was acting on motives of policy as well as pleasure\nin the frequency of her visits at Delaford; for her wish of bringing", "Mrs. Dashwood's visit to Lady Middleton took place the next day, and\ntwo of her daughters went with her; but Marianne excused herself from", "Mr. John Dashwood told his mother again and again how exceedingly sorry\nhe was that she had taken a house at such a distance from Norland as to", "Dashwoods, and understanding them to be Mr. Dashwood's sisters, she\nimmediately concluded them to be staying in Harley Street; and this\nmisconstruction produced within a day or two afterwards, cards of", "The Dashwoods were now settled at Barton with tolerable comfort to\nthemselves. The house and the garden, with all the objects surrounding", "\"At Delaford, she will be within an easy distance of me,\" added Mrs.\nDashwood, \"even if I remain at Barton; and in all probability,--for I", "was provided with a house, and should incommode them no longer than till\nevery thing were ready for her inhabiting it. They heard her with\nsurprise. Mrs. John Dashwood said nothing; but her husband civilly hoped", "Little had Mrs. Dashwood or her daughters imagined when they first came\ninto Devonshire, that so many engagements would arise to occupy their", "and Mrs. Dashwood. He dared not come to Bartlett's Buildings for fear\nof detection, and though their mutual impatience to meet, was not to be", "She concluded with a very kind invitation to Mr. and Mrs. John Dashwood\nto visit her at Barton; and to Edward she gave one with still greater", "No sooner was his father's funeral over, than Mrs. John Dashwood,\nwithout sending any notice of her intention to her mother-in-law,", "Mrs. Dashwood, whose terror as they drew near the house had produced\nalmost the conviction of Marianne's being no more, had no voice to", "On being informed of the invitation, Mrs. Dashwood, persuaded that such\nan excursion would be productive of much amusement to both her", "With the size and furniture of the house Mrs. Dashwood was upon the\nwhole well satisfied; for though her former style of life rendered many", "with some earnestness, to consider Norland as their home; and, as no\nplan appeared so eligible to Mrs. Dashwood as remaining there till she\ncould accommodate herself with a house in the neighbourhood, his" ], [ "\"Why did you call, Mr. Willoughby?\" said Elinor, reproachfully; \"a note\nwould have answered every purpose.-- Why was it necessary to call?\"", "Mrs. Dashwood was sorry for what she had said; but it gave Elinor\npleasure, as it produced a reply from Marianne so expressive of\nconfidence in Willoughby and knowledge of his intentions.", "confidence in Willoughby, and she was wildly urgent to be gone.\nElinor, unable herself to determine whether it were better for Marianne", "Colonel Brandon, who had a general invitation to the house, was with\nthem almost every day; he came to look at Marianne and talk to Elinor,", "\"I understand you,\" said Elinor. \"You have something to tell me of Mr.\nWilloughby, that will open his character farther. Your telling it will", "\"You are very wrong, Mr. Willoughby, very blamable,\" said Elinor, while\nher voice, in spite of herself, betrayed her compassionate emotion;", "Early in February, within a fortnight from the receipt of Willoughby's\nletter, Elinor had the painful office of informing her sister that he", "Recollecting, soon afterwards, that he was probably dividing Elinor\nfrom her sister, he put an end to his visit, receiving from her again\nthe same grateful acknowledgments, and leaving her full of compassion\nand esteem for him.", "\"You mean,\" answered Elinor, with forced calmness, \"Mr. Willoughby's\nmarriage with Miss Grey. Yes, we DO know it all. This seems to have", "himself, had no such encouragement to think only of Marianne, and in\nconversing with Elinor he found the greatest consolation for the\nindifference of her sister.", "\"You are mistaken, Elinor,\" said she warmly, \"in supposing I know very\nlittle of Willoughby. I have not known him long indeed, but I am much", "They had not remained in this manner long, before Elinor perceived\nWilloughby, standing within a few yards of them, in earnest", "that had passed, her suspicions of Willoughby's inconstancy, urging her\nby every plea of duty and affection to demand from Marianne an account\nof her real situation with respect to him.", "Nothing could be more expressive of attachment to them all, than\nWilloughby's behaviour. To Marianne it had all the distinguishing", "No letter from Willoughby came; and none seemed expected by Marianne.\nHer mother was surprised, and Elinor again became uneasy. But Mrs.\nDashwood could find explanations whenever she wanted them, which at\nleast satisfied herself.", "the sake of every one concerned in it, make it unfit to become the\npublic conversation. I must do THIS justice to Mr. Willoughby--he has\nbroken no positive engagement with my sister.\"", "Her letter was scarcely finished, when a rap foretold a visitor, and\nColonel Brandon was announced. Marianne, who had seen him from the", "came to them every day. To enquire after Marianne was at first his\nexcuse; but the encouragement of his reception, to which every day gave\ngreater kindness, made such an excuse unnecessary before it had ceased", "remembered that promise to Willoughby was yet unfulfilled, and feared\nshe had that to communicate which might again unsettle the mind of\nMarianne, and ruin at least for a time this fair prospect of busy", "\"I hope not, I believe not,\" cried Elinor. \"I love Willoughby,\nsincerely love him; and suspicion of his integrity cannot be more" ], [ "Marianne heard enough. In one moment her imagination placed before her\na letter from Willoughby, full of tenderness and contrition,", "consented to this increase of establishment, Marianne was shortly\nsubdued; and she promised not to tempt her mother to such imprudent\nkindness by mentioning the offer, and to tell Willoughby when she saw", "Marianne coloured, and replied very hastily, \"Where, pray?\"--\n\n\"Did not you know,\" said Willoughby, \"that we had been out in my\ncurricle?\"", "lady, however, saw only that Marianne had received a letter from\nWilloughby, which appeared to her a very good joke, and which she\ntreated accordingly, by hoping, with a laugh, that she would find it to", "Marianne's affection for Willoughby, could leave no hope of Colonel\nBrandon's success, whatever the event of that affection might be, and\nat the same time wished to shield her conduct from censure, she thought", "Mrs. Dashwood was sorry for what she had said; but it gave Elinor\npleasure, as it produced a reply from Marianne so expressive of\nconfidence in Willoughby and knowledge of his intentions.", "\"To-morrow, Marianne!\"\n\n\"Yes, why should I stay here? I came only for Willoughby's sake--and\nnow who cares for me? Who regards me?\"", "confidence in Willoughby, and she was wildly urgent to be gone.\nElinor, unable herself to determine whether it were better for Marianne", "think only of what would increase it. Marianne was restored to her\nfrom a danger in which, as she now began to feel, her own mistaken\njudgment in encouraging the unfortunate attachment to Willoughby, had", "Marianne's, as before. Sometimes she could believe Willoughby to be as\nunfortunate and as innocent as herself, and at others, lost every", "This was the season of happiness to Marianne. Her heart was devoted to\nWilloughby, and the fond attachment to Norland, which she brought with", "remembered that promise to Willoughby was yet unfulfilled, and feared\nshe had that to communicate which might again unsettle the mind of\nMarianne, and ruin at least for a time this fair prospect of busy", "\"Why do you not ask Marianne at once,\" said she, \"whether she is or she\nis not engaged to Willoughby? From you, her mother, and so kind, so", "it entirely. Would either of them only have given her a full and\nminute account of the whole affair between Marianne and Mr. Willoughby,\nshe would have thought herself amply rewarded for the sacrifice of the", "say, \"Depend upon it, he will call again tomorrow.\" But Marianne\nseemed hardly to hear her, and on Mrs. Jennings's entrance, escaped with\nthe precious card.", "No letter from Willoughby came; and none seemed expected by Marianne.\nHer mother was surprised, and Elinor again became uneasy. But Mrs.\nDashwood could find explanations whenever she wanted them, which at\nleast satisfied herself.", "referring her to the letter of comfort. But the letter, when she was\ncalm enough to read it, brought little comfort. Willoughby filled\nevery page. Her mother, still confident of their engagement, and", "that had passed, her suspicions of Willoughby's inconstancy, urging her\nby every plea of duty and affection to demand from Marianne an account\nof her real situation with respect to him.", "Her letter was scarcely finished, when a rap foretold a visitor, and\nColonel Brandon was announced. Marianne, who had seen him from the", "Mrs. Dashwood looked with pleasure at Marianne, whose fine eyes were\nfixed so expressively on Willoughby, as plainly denoted how well she\nunderstood him." ], [ "\"I am sorry to say, ma'am, in a most unhappy rupture:-- Edward is\ndismissed for ever from his mother's notice. He left her house", "What Edward had done to forfeit the right of eldest son, might have\npuzzled many people to find out; and what Robert had done to succeed to", "This paragraph was of some importance to the prospects and conduct of\nEdward. It determined him to attempt a reconciliation, though not\nexactly in the manner pointed out by their brother and sister.", "Edward's side, more particularly, there was a deficiency of all that a\nlover ought to look and say on such an occasion. He was confused,\nseemed scarcely sensible of pleasure in seeing them, looked neither", "In what state the affair stood at present between them, Edward knew\nnot, for no communication with any of his family had yet been attempted\nby him. He had quitted Oxford within four and twenty hours after", "Edward made no answer; but when she had turned away her head, gave her\na look so serious, so earnest, so uncheerful, as seemed to say, that he", "Brandon to Edward, and, therefore, must understand the terms on which\nit was given, obliged him to submit to her authority.", "\"All this, however,\" he continued, \"was urged in vain. Edward said\nvery little; but what he did say, was in the most determined manner.", "suspicion of his regretting the extent of his income, as either leaving\nhis brother too little, or bringing himself too much;--and if Edward\nmight be judged from the ready discharge of his duties in every", "Edward is so cast down by it! Did you not think him dreadful\nlow-spirited when he was at Barton? He was so miserable when he left", "to another. But at the same time, she could not help thinking that no\none could so well perform it as himself. It was an office in short,\nfrom which, unwilling to give Edward the pain of receiving an", "say, that if Edward does marry this young woman, I never will see him\nagain.' That was what I said immediately.-- I was most uncommonly\nshocked, indeed!--Poor Edward!--he has done for himself", "thing more preparing against him, which must be worse than all--his\nmother has determined, with a very natural kind of spirit, to settle\nTHAT estate upon Robert immediately, which might have been Edward's, on", "Edward made no answer. His gravity and thoughtfulness returned on him\nin their fullest extent--and he sat for some time silent and dull.\n\n\n\nCHAPTER 18", "of his banished brother, earned only by his own dissipated course of\nlife, and that brother's integrity, was confirming her most\nunfavourable opinion of his head and heart.", "Ferrars would be off; and when Edward did not come near us for three\ndays, I could not tell what to think myself; and I believe in my heart", "prohibited a subject, but conclude him to be still at Oxford;\" which\nwas all the intelligence of Edward afforded her by the correspondence,\nfor his name was not even mentioned in any of the succeeding letters.", "It was a very awkward moment; and the countenance of each shewed that\nit was so. They all looked exceedingly foolish; and Edward seemed to", "\"But why were you not there, Edward?--Why did you not come?\"\n\n\"I was engaged elsewhere.\"\n\n\"Engaged! But what was that, when such friends were to be met?\"", "conscientious, good mother, in like circumstances, would adopt. It has\nbeen dignified and liberal. Edward has drawn his own lot, and I fear\nit will be a bad one.\"" ], [ "Edward was, of course, immediately convinced that nothing could have\nbeen more natural than Lucy's conduct, nor more self-evident than the\nmotive of it.", "\"Edward's love for me,\" said Lucy, \"has been pretty well put to the\ntest, by our long, very long absence since we were first engaged, and", "own recollection, but by the good will of Lucy, who believed herself to\nbe inflicting a severe disappointment when she told her that Edward\ncertainly would not be in Harley Street on Tuesday, and even hoped to", "Edward, having carried his thanks to Colonel Brandon, proceeded with\nhis happiness to Lucy; and such was the excess of it by the time he", "should be checked by Lucy's unwelcome presence. Edward was the first\nto speak, and it was to notice Marianne's altered looks, and express\nhis fear of her not finding London agree with her.", "Edward, it required no other consideration of probabilities to make it\nnatural that Lucy should be jealous; and that she was so, her very\nconfidence was a proof. What other reason for the disclosure of the", "and certainty itself. She now found, that in spite of herself, she had\nalways admitted a hope, while Edward remained single, that something\nwould occur to prevent his marrying Lucy; that some resolution of his", "regretting that Lucy's engagement with Edward had not rather been\nfulfilled, than that she should thus be the means of spreading misery\nfarther in the family.-- He thus continued:", "know how Edward would conduct himself. For HIM she felt much\ncompassion;--for Lucy very little--and it cost her some pains to\nprocure that little;--for the rest of the party none at all.", "And drawing him a little aside, she whispered her persuasion that Lucy\ncould not stay much longer. But even this encouragement failed, for he", "another quarter. Lucy came very shortly to claim Elinor's compassion\non being unable to see Edward, though he had arrived in town with Mr.", "\"When I see him again,\" said Elinor to herself, as the door shut him\nout, \"I shall see him the husband of Lucy.\"", "foreplanned in her own mind. Edward's marriage with Lucy was as firmly\ndetermined on, and the time of its taking place remained as absolutely", "exactly the coxcomb she had heard him described to be by Lucy. Happy\nhad it been for her, if her regard for Edward had depended less on his", "promote their happiness as far as she could, soon left them to\nthemselves. But before she was half way upstairs she heard the parlour\ndoor open, and, turning round, was astonished to see Edward himself", "and interrupt them, to ask Lucy if she would like to go, but she did\nnot care to leave Edward; so I just run up stairs and put on a pair of\nsilk stockings and came off with the Richardsons.\"", "\"And yet I do assure you,\" replied Lucy, her little sharp eyes full of\nmeaning, \"there seemed to me to be a coldness and displeasure in your", "In what state the affair stood at present between them, Edward knew\nnot, for no communication with any of his family had yet been attempted\nby him. He had quitted Oxford within four and twenty hours after", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "she thought would never cease. Edward, who had till then looked any\nwhere, rather than at her, saw her hurry away, and perhaps saw--or even" ], [ "each observing friend. Marianne could never love by halves; and her\nwhole heart became, in time, as much devoted to her husband, as it had\nonce been to Willoughby.", "This was the season of happiness to Marianne. Her heart was devoted to\nWilloughby, and the fond attachment to Norland, which she brought with", "in secret over obstacles which must divide her for ever from the object\nof her love, and that Marianne was internally dwelling on the\nperfections of a man, of whose whole heart she felt thoroughly", "Colonel Brandon was now as happy, as all those who best loved him,\nbelieved he deserved to be;--in Marianne he was consoled for every past", "\"At last we are alone. My Elinor, you do not yet know all my\nhappiness. Colonel Brandon loves Marianne. He has told me so himself.\"", "\"No.--He thinks Marianne's affection too deeply rooted for any change\nin it under a great length of time, and even supposing her heart again", "which Marianne had just finished. Colonel Brandon alone, of all the\nparty, heard her without being in raptures. He paid her only the\ncompliment of attention; and she felt a respect for him on the", "YOU, but so it happened to strike her. She will be mistaken, however.\nI question whether Marianne NOW, will marry a man worth more than five", "Marianne's affection for Willoughby, could leave no hope of Colonel\nBrandon's success, whatever the event of that affection might be, and\nat the same time wished to shield her conduct from censure, she thought", "Her letter was scarcely finished, when a rap foretold a visitor, and\nColonel Brandon was announced. Marianne, who had seen him from the", "her affectionately several times, and then gave way to a burst of\ntears, which at first was scarcely less violent than Marianne's. The\nlatter, though unable to speak, seemed to feel all the tenderness of", "family, I should have fixed on Colonel Brandon's marrying one of you as\nthe object most desirable. And I believe Marianne will be the most\nhappy with him of the two.\"", "equally the wish of Edward and Elinor. They each felt his sorrows, and\ntheir own obligations, and Marianne, by general consent, was to be the\nreward of all.", "that had Willoughby turned out as really amiable, as he has proved\nhimself the contrary, Marianne would yet never have been so happy with\nHIM, as she will be with Colonel Brandon.\"", "Marianne assented most feelingly to the remark; and her mother was led\nby it to an enumeration of Colonel Brandon's injuries and merits, warm", "\"My protege, as you call him, is a sensible man; and sense will always\nhave attractions for me. Yes, Marianne, even in a man between thirty", "Marianne heard enough. In one moment her imagination placed before her\na letter from Willoughby, full of tenderness and contrition,", "At these words, Marianne's eyes expressed the astonishment which her\nlips could not utter. After a pause of wonder, she exclaimed--\n\n\"Four months!--Have you known of this four months?\"", "\"To-morrow, Marianne!\"\n\n\"Yes, why should I stay here? I came only for Willoughby's sake--and\nnow who cares for me? Who regards me?\"", "after all, Marianne, after all that is bewitching in the idea of a\nsingle and constant attachment, and all that can be said of one's\nhappiness depending entirely on any particular person, it is not" ], [ "Elinor lost no time in bringing her business forward, was on the point\nof concluding it, when another gentleman presented himself at her side.\nShe turned her eyes towards his face, and found him with some surprise\nto be her brother.", "\"We have been engaged these four years.\"\n\n\"Four years!\"\n\n\"Yes.\"\n\nElinor, though greatly shocked, still felt unable to believe it.", "Michaelmas, and she found in Elinor and her husband, as she really\nbelieved, one of the happiest couples in the world. They had in fact", "Elinor assured him that she did;--that she forgave, pitied, wished him\nwell--was even interested in his happiness--and added some gentle\ncounsel as to the behaviour most likely to promote it. His answer was\nnot very encouraging.", "\"Is Mr. Edward Ferrars,\" said Elinor, with resolution, \"going to be\nmarried?\"", "Elinor would not speak. He repeated the inquiry with yet greater\neagerness.\n\n\"For God's sake tell me, is she out of danger, or is she not?\"", "\"In a few months, my dear Marianne.\" said she, \"Elinor will, in all\nprobability be settled for life. We shall miss her; but SHE will be\nhappy.\"", "and while Edward was never cordially forgiven for having once intended\nto marry her, and Elinor, though superior to her in fortune and birth,", "Elinor, starting back with a look of horror at the sight of him, obeyed\nthe first impulse of her heart in turning instantly to quit the room,", "\"You mean,\" answered Elinor, with forced calmness, \"Mr. Willoughby's\nmarriage with Miss Grey. Yes, we DO know it all. This seems to have", "income. But Elinor had no such dependence; for since Edward would\nstill be unable to marry Miss Morton, and his chusing herself had been", "No sooner did she perceive any symptom of love in his behaviour to\nElinor, than she considered their serious attachment as certain, and\nlooked forward to their marriage as rapidly approaching.", "Elinor joyfully profited by the first of these proposals, and thus by a\nlittle of that address which Marianne could never condescend to", "The Willoughbys left town as soon as they were married; and Elinor now\nhoped, as there could be no danger of her seeing either of them, to", "Elinor confirmed it.\n\n\"What!--while attending me in all my misery, has this been on your\nheart?--And I have reproached you for being happy!\"--", "\"When I see him again,\" said Elinor to herself, as the door shut him\nout, \"I shall see him the husband of Lucy.\"", "Elinor looked surprised at his emotion; but trying to laugh off the\nsubject, she said to him, \"Do not you know my sister well enough to", "His errand at Barton, in fact, was a simple one. It was only to ask\nElinor to marry him;--and considering that he was not altogether", "Elinor could not help laughing. \"Excuse me,\" said she; \"and be assured\nthat I meant no offence to you, by speaking, in so quiet a way, of my", "Elinor stopped him with a reproof.\n\n\"Well,\"--he replied--\"once more good bye. I shall now go away and live\nin dread of one event.\"\n\n\"What do you mean?\"" ], [ "Mrs. Jennings soon appeared, and the note being given her, she read it\naloud. It was from Lady Middleton, announcing their arrival in Conduit", "Marianne turned away in great confusion. Mrs. Jennings laughed\nheartily; and Elinor found that in her resolution to know where they", "Mrs. Jennings sat on Elinor's right hand; and they had not been long\nseated, before she leant behind her and Willoughby, and said to", "accompany her to some shops where she had business that morning, to\nwhich Mrs. Jennings and Elinor readily consented, as having likewise\nsome purchases to make themselves; and Marianne, though declining it at", "The invitation was accepted; but when the hour of appointment drew\nnear, necessary as it was in common civility to Mrs. Jennings, that\nthey should both attend her on such a visit, Elinor had some difficulty", "the end of March, for the Easter holidays; and Mrs. Jennings, with both\nher friends, received a very warm invitation from Charlotte to go with", "After some opposition, Marianne yielded to her sister's entreaties, and\nconsented to go out with her and Mrs. Jennings one morning for half an", "suggested the propriety of their being really invited to become such,\nwhile Mrs. Jennings's engagements kept her from home. The expense would", "almost equally urgent with her mother to accompany her. Mrs. Jennings,\nhowever, with a kindness of heart which made Elinor really love her,\ndeclared her resolution of not stirring from Cleveland as long as", "\"At any rate,\" said Elinor, wishing to prevent Mrs. Jennings from\nseeing her sister's thoughts as clearly as she did, \"I dare say we\nshall have Sir John and Lady Middleton in town by the end of next week.\"", "As soon as Elinor had finished it, she performed what she concluded to\nbe its writer's real design, by placing it in the hands of Mrs.\nJennings, who read it aloud with many comments of satisfaction and\npraise.", "\"It is indeed for Mrs. Jennings; how provoking!\"\n\n\"You are expecting a letter, then?\" said Elinor, unable to be longer\nsilent.\n\n\"Yes, a little--not much.\"", "Mrs. Dashwood's visit to Lady Middleton took place the next day, and\ntwo of her daughters went with her; but Marianne excused herself from", "He had met Mrs. Jennings at the door in her way to the carriage, as he\ncame to leave his farewell card; and she, after apologising for not", "necessarily dropped. Mrs. Jennings, who had watched them with pleasure\nwhile they were talking, and who expected to see the effect of Miss\nDashwood's communication, in such an instantaneous gaiety on Colonel", "As Mrs. Jennings could talk on no other subject, Elinor soon saw the\nnecessity of preparing Marianne for its discussion. No time was to be", "In a morning's excursion to Exeter, they had met with two young ladies,\nwhom Mrs. Jennings had the satisfaction of discovering to be her", "\"Come Colonel,\" said Mrs. Jennings, \"before you go, do let us know what\nyou are going about.\"\n\nHe wished her a good morning, and, attended by Sir John, left the room.", "Mrs. Jennings laughed again, but Elinor had not spirits to say more,\nand eager at all events to know what Willoughby had written, hurried", "on her baby's account. Mrs. Jennings, who had been inclined from the\nfirst to think Marianne's complaint more serious than Elinor, now" ], [ "By a former marriage, Mr. Henry Dashwood had one son: by his present\nlady, three daughters. The son, a steady respectable young man, was", "children, the old Gentleman's days were comfortably spent. His\nattachment to them all increased. The constant attention of Mr. and\nMrs. Henry Dashwood to his wishes, which proceeded not merely from", "\"Certainly,\" returned Mrs. John Dashwood. \"But, however, ONE thing\nmust be considered. When your father and mother moved to Norland,", "alteration in his home; for to supply her loss, he invited and received\ninto his house the family of his nephew Mr. Henry Dashwood, the legal", "No sooner was his father's funeral over, than Mrs. John Dashwood,\nwithout sending any notice of her intention to her mother-in-law,", "Their claims to the notice of Mrs. John Dashwood, as the nieces of the\ngentleman who for many years had had the care of her brother, might not", "John Dashwood was greatly astonished; but his nature was calm, not open\nto provocation, and he never wished to offend anybody, especially\nanybody of good fortune. He therefore replied, without any resentment,", "Mrs. John Dashwood did not at all approve of what her husband intended\nto do for his sisters. To take three thousand pounds from the fortune", "bequest. Mr. Dashwood had wished for it more for the sake of his wife\nand daughters than for himself or his son;--but to his son, and his", "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "been made amiable himself; for he was very young when he married, and\nvery fond of his wife. But Mrs. John Dashwood was a strong caricature\nof himself;--more narrow-minded and selfish.", "and Mr. John Dashwood had then leisure to consider how much there might\nprudently be in his power to do for them.", "In a very few weeks from the day which brought Sir John Middleton's\nfirst letter to Norland, every thing was so far settled in their future\nabode as to enable Mrs. Dashwood and her daughters to begin their\njourney.", "Their affection and pleasure in meeting was just enough to make a very\ncreditable appearance in Mr. Gray's shop. John Dashwood was really far", "Mr. John Dashwood had not the strong feelings of the rest of the\nfamily; but he was affected by a recommendation of such a nature at", "interest him in political concerns, to get him into parliament, or to\nsee him connected with some of the great men of the day. Mrs. John\nDashwood wished it likewise; but in the mean while, till one of these", "Mr. John Dashwood told his mother again and again how exceedingly sorry\nhe was that she had taken a house at such a distance from Norland as to", "his personal enquiries. He was received by Mrs. Dashwood with more\nthan politeness; with a kindness which Sir John's account of him and\nher own gratitude prompted; and every thing that passed during the", "John Dashwood was obliged to submit not only to the exceedingly great\ninconvenience of sending her carriage for the Miss Dashwoods, but, what", "John Dashwood, that not even her curiosity to see how she looked after\nthe late discovery, nor her strong desire to affront her by taking\nEdward's part, could overcome her unwillingness to be in her company" ], [ "In a very few weeks from the day which brought Sir John Middleton's\nfirst letter to Norland, every thing was so far settled in their future\nabode as to enable Mrs. Dashwood and her daughters to begin their\njourney.", "The family of Dashwood had long been settled in Sussex. Their estate\nwas large, and their residence was at Norland Park, in the centre of", "\"Certainly,\" returned Mrs. John Dashwood. \"But, however, ONE thing\nmust be considered. When your father and mother moved to Norland,", "Mr. John Dashwood told his mother again and again how exceedingly sorry\nhe was that she had taken a house at such a distance from Norland as to", "with some earnestness, to consider Norland as their home; and, as no\nplan appeared so eligible to Mrs. Dashwood as remaining there till she\ncould accommodate herself with a house in the neighbourhood, his", "Mrs. Dashwood remained at Norland several months; not from any\ndisinclination to move when the sight of every well known spot ceased", "for her mother and sisters spent much more than half their time with\nher. Mrs. Dashwood was acting on motives of policy as well as pleasure\nin the frequency of her visits at Delaford; for her wish of bringing", "Elinor had always thought it would be more prudent for them to settle\nat some distance from Norland, than immediately amongst their present", "Mrs. Dashwood was prudent enough to remain at the cottage, without\nattempting a removal to Delaford; and fortunately for Sir John and Mrs.", "Elinor scolded him, harshly as ladies always scold the imprudence which\ncompliments themselves, for having spent so much time with them at\nNorland, when he must have felt his own inconstancy.", "impossible to have lived together so long, had not a particular\ncircumstance occurred to give still greater eligibility, according to\nthe opinions of Mrs. Dashwood, to her daughters' continuance at Norland.", "Mrs. Dashwood felt too much for speech, and instantly quitted the\nparlour to give way in solitude to the concern and alarm which this\nsudden departure occasioned.", "Mrs. Dashwood's visit to Lady Middleton took place the next day, and\ntwo of her daughters went with her; but Marianne excused herself from", "Sir John had been very urgent with them all to spend the next day at\nthe park. Mrs. Dashwood, who did not chuse to dine with them oftener", "will of his mother. But Mrs. Dashwood was alike uninfluenced by either\nconsideration. It was enough for her that he appeared to be amiable,", "Mrs. Dashwood and her daughters were met at the door of the house by\nSir John, who welcomed them to Barton Park with unaffected sincerity;", "So acutely did Mrs. Dashwood feel this ungracious behaviour, and so\nearnestly did she despise her daughter-in-law for it, that, on the", "Mrs. John Dashwood did not at all approve of what her husband intended\nto do for his sisters. To take three thousand pounds from the fortune", "and Mrs. Dashwood. He dared not come to Bartlett's Buildings for fear\nof detection, and though their mutual impatience to meet, was not to be", "Middleton was entirely unknown to Mrs. Dashwood, she preferred going\ndirectly to the cottage to being a visitor at Barton Park; and she" ], [ "manners of Mrs. Dashwood. Indeed a man could not very well be in love\nwith either of her daughters, without extending the passion to her; and\nElinor had the satisfaction of seeing him soon become more like", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "\"I want no proof of their affection,\" said Elinor; \"but of their\nengagement I do.\"\n\n\"I am perfectly satisfied of both.\"", "She was sitting by Edward, and in taking his tea from Mrs. Dashwood,\nhis hand passed so directly before her, as to make a ring, with a plait", "Mrs. Dashwood looked with pleasure at Marianne, whose fine eyes were\nfixed so expressively on Willoughby, as plainly denoted how well she\nunderstood him.", "No sooner was her answer dispatched, than Mrs. Dashwood indulged herself\nin the pleasure of announcing to her son-in-law and his wife that she", "her affectionately several times, and then gave way to a burst of\ntears, which at first was scarcely less violent than Marianne's. The\nlatter, though unable to speak, seemed to feel all the tenderness of", "Mrs. Dashwood now took pains to get acquainted with him. Her manners\nwere attaching, and soon banished his reserve. She speedily", "\"Well, but Miss Dashwood,\" speaking triumphantly, \"people may say what\nthey chuse about Mr. Ferrars's declaring he would not have Lucy, for it", "It was as much, however, as was desired, and more than was expected, by\nEdward and Elinor; and Mrs. Ferrars herself, by her shuffling excuses,\nseemed the only person surprised at her not giving more.", "Mrs. Dashwood was sorry for what she had said; but it gave Elinor\npleasure, as it produced a reply from Marianne so expressive of\nconfidence in Willoughby and knowledge of his intentions.", "Elinor was prevented from making any reply to this civil triumph, by\nthe door's being thrown open, the servant's announcing Mr. Ferrars, and\nEdward's immediately walking in.", "This circumstance was a growing attachment between her eldest girl and\nthe brother of Mrs. John Dashwood, a gentleman-like and pleasing young", "reasonably happy. Mrs. Dashwood seemed actually working for her,\nherself; cherishing all her hopes, and promoting all her views! Such\nan opportunity of being with Edward and his family was, above all", "As soon as Mrs. Dashwood had recovered herself, to see Marianne was her\nfirst desire; and in two minutes she was with her beloved child,", "notice which overcame her by its graciousness, and led soon afterwards,\nby rapid degrees, to the highest state of affection and influence.\nLucy became as necessary to Mrs. Ferrars, as either Robert or Fanny;", "her design by saying, as calmly as she could, \"I like Edward Ferrars\nvery much, and shall always be glad to see him; but as to the rest of", "Mrs. Dashwood would have interrupted her instantly with soothing\ntenderness, had not Elinor, who really wished to hear her sister's\nunbiased opinion, by an eager sign, engaged her silence. Marianne\nslowly continued--", "consequently spent in hearing and in wondering. Every thing was\nexplained to him by Mrs. Dashwood, and he found fresh reason to rejoice\nin what he had done for Mr. Ferrars, since eventually it promoted the", "\"Certainly,\" answered Elinor, without knowing what she said; but after\na moment's reflection, she added, with revived security of Edward's" ], [ "brother, by the entrance of Mr. Robert Ferrars. After a few moments'\nchat, John Dashwood, recollecting that Fanny was yet uninformed of her", "Dashwood introduced him to her as Mr. Robert Ferrars.", "\"Mrs. Ferrars has never yet mentioned Edward's name, which does not\nsurprise us; but, to our great astonishment, not a line has been", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "Dashwood, from YOUR slight acquaintance.--Poor Edward!--His manners are\ncertainly not the happiest in nature.--But we are not all born, you", "Mr. Ferrars can be displeased, when he knows I have trusted you,\nbecause I know he has the highest opinion in the world of all your\nfamily, and looks upon yourself and the other Miss Dashwoods quite as", "of Ferrars began with an F. and this prepared a future mine of raillery\nagainst the devoted Elinor, which nothing but the newness of their\nacquaintance with Edward could have prevented from being immediately", "\"Well, but Miss Dashwood,\" speaking triumphantly, \"people may say what\nthey chuse about Mr. Ferrars's declaring he would not have Lucy, for it", "\"Well, well; whatever Colonel Brandon may be, Edward is a very lucky\nman.--You will not mention the matter to Fanny, however, for though I", "interest on such an occasion would be perfectly unnecessary? He is\nbrother to Mrs. John Dashwood--THAT must be recommendation enough to\nher husband.\"", "John Dashwood, that not even her curiosity to see how she looked after\nthe late discovery, nor her strong desire to affront her by taking\nEdward's part, could overcome her unwillingness to be in her company", "known as Willoughby's, joined them in begging her to stop, and she\nturned round with surprise to see and welcome Edward Ferrars.", "Their claims to the notice of Mrs. John Dashwood, as the nieces of the\ngentleman who for many years had had the care of her brother, might not", "\"I suppose you know, ma'am, that Mr. Ferrars is married.\"", "the matter, by all I can learn, seems to be this. Mr. Edward Ferrars,\nthe very young man I used to joke with you about (but however, as it", "\"What are Mrs. Ferrars's views for you at present, Edward?\" said she,\nwhen dinner was over and they had drawn round the fire; \"are you still\nto be a great orator in spite of yourself?\"", "\"Ferrars!\" repeated Miss Steele; \"Mr. Ferrars is the happy man, is he?\nWhat! your sister-in-law's brother, Miss Dashwood? a very agreeable", "Elinor was prevented from making any reply to this civil triumph, by\nthe door's being thrown open, the servant's announcing Mr. Ferrars, and\nEdward's immediately walking in.", "She was sitting by Edward, and in taking his tea from Mrs. Dashwood,\nhis hand passed so directly before her, as to make a ring, with a plait", "\"Is Mr. Edward Ferrars,\" said Elinor, with resolution, \"going to be\nmarried?\"" ], [ "Marianne's affection for Willoughby, could leave no hope of Colonel\nBrandon's success, whatever the event of that affection might be, and\nat the same time wished to shield her conduct from censure, she thought", "she had been by what produced it; but Colonel Brandon's eyes, as they\nwere fixed on Marianne, declared that he noticed only what was amiable\nin it, the affectionate heart which could not bear to see a sister", "\"No.--He thinks Marianne's affection too deeply rooted for any change\nin it under a great length of time, and even supposing her heart again", "which Marianne had just finished. Colonel Brandon alone, of all the\nparty, heard her without being in raptures. He paid her only the\ncompliment of attention; and she felt a respect for him on the", "Colonel Brandon's partiality for Marianne, which had so early been\ndiscovered by his friends, now first became perceptible to Elinor, when", "insinuations of her power over such a young man; and this kind of\ndiscernment enabled her soon after her arrival at Barton decisively to\npronounce that Colonel Brandon was very much in love with Marianne", "attentions were wholly Marianne's, and a far less agreeable man might\nhave been more generally pleasing. Colonel Brandon, unfortunately for", "Her letter was scarcely finished, when a rap foretold a visitor, and\nColonel Brandon was announced. Marianne, who had seen him from the", "\"It is Colonel Brandon!\" said she, with vexation. \"We are never safe\nfrom HIM.\"\n\n\"He will not come in, as Mrs. Jennings is from home.\"", "Marianne assented most feelingly to the remark; and her mother was led\nby it to an enumeration of Colonel Brandon's injuries and merits, warm", "\"That is an expression, Sir John,\" said Marianne, warmly, \"which I\nparticularly dislike. I abhor every common-place phrase by which wit", "\"Poor Marianne!\" said her brother to Colonel Brandon, in a low voice,\nas soon as he could secure his attention,-- \"She has not such good", "indeed it is!\" and seemed almost ready to throw herself into his arms,\nwhen Colonel Brandon appeared.", "Willoughby, an equally striking opposition of character was no\nhindrance to the regard of Colonel Brandon. She saw it with concern;\nfor what could a silent man of five and thirty hope, when opposed to a", "Elinor tried very seriously to convince him that there was no\nlikelihood of her marrying Colonel Brandon; but it was an expectation", "Marianne and Colonel Brandon together was hardly less earnest, though\nrather more liberal than what John had expressed. It was now her\ndarling object. Precious as was the company of her daughter to her,", "very high in her opinion. She believed the regard to be mutual; but\nshe required greater certainty of it to make Marianne's conviction of\ntheir attachment agreeable to her. She knew that what Marianne and her", "Colonel Brandon, the friend of Sir John, seemed no more adapted by\nresemblance of manner to be his friend, than Lady Middleton was to be", "her affectionately several times, and then gave way to a burst of\ntears, which at first was scarcely less violent than Marianne's. The\nlatter, though unable to speak, seemed to feel all the tenderness of", "and her gratitude for the particular friendship, which together\nprompted Colonel Brandon to this act, were strongly felt, and warmly\nexpressed. She thanked him for it with all her heart, spoke of" ], [ "Her letter was scarcely finished, when a rap foretold a visitor, and\nColonel Brandon was announced. Marianne, who had seen him from the", "\"Not yet,\" cried the other, concealing her terror, and assisting\nMarianne to lie down again, \"but she will be here, I hope, before it is\nlong. It is a great way, you know, from hence to Barton.\"", "her affectionately several times, and then gave way to a burst of\ntears, which at first was scarcely less violent than Marianne's. The\nlatter, though unable to speak, seemed to feel all the tenderness of", "her safe off, returned to Marianne, whom she found attempting to rise\nfrom the bed, and whom she reached just in time to prevent her from\nfalling on the floor, faint and giddy from a long want of proper rest", "\"Poor Marianne!\" said her brother to Colonel Brandon, in a low voice,\nas soon as he could secure his attention,-- \"She has not such good", "As soon as Mrs. Dashwood had recovered herself, to see Marianne was her\nfirst desire; and in two minutes she was with her beloved child,", "The servant, who saw only that Miss Marianne was taken ill, had sense\nenough to call one of the maids, who, with Mrs. Dashwood's assistance,", "arrived to tell all that she suffered and thought; to express her\nanxious solicitude for Marianne, and entreat she would bear up with\nfortitude under this misfortune. Bad indeed must the nature of", "Marianne, now looking dreadfully white, and unable to stand, sunk into\nher chair, and Elinor, expecting every moment to see her faint, tried\nto screen her from the observation of others, while reviving her with\nlavender water.", "Marianne assented most feelingly to the remark; and her mother was led\nby it to an enumeration of Colonel Brandon's injuries and merits, warm", "her those acknowledgments, and returned her those civilities, which her\nsister could not make or return for herself. Their good friend saw\nthat Marianne was unhappy, and felt that every thing was due to her", "\"For me!\" cried Marianne, stepping hastily forward.\n\n\"No, ma'am, for my mistress.\"\n\nBut Marianne, not convinced, took it instantly up.", "quickened her pace and kept up with her. They were soon within thirty\nyards of the gentleman. Marianne looked again; her heart sunk within", "The sisters set out at a pace, slow as the feebleness of Marianne in an\nexercise hitherto untried since her illness required;--and they had", "which Marianne had just finished. Colonel Brandon alone, of all the\nparty, heard her without being in raptures. He paid her only the\ncompliment of attention; and she felt a respect for him on the", "When at last she returned to the unconscious Marianne, she found her\njust awaking, refreshed by so long and sweet a sleep to the extent of", "Colonel Brandon, who had a general invitation to the house, was with\nthem almost every day; he came to look at Marianne and talk to Elinor,", "\"A dance!\" cried Marianne. \"Impossible! Who is to dance?\"", "Sir John called on them as soon as the next interval of fair weather\nthat morning allowed him to get out of doors; and Marianne's accident", "softened at the time, to spare her from an increase of unhappiness,\nsuffering as she then had suffered for Marianne. She found that she\nhad been misled by the careful, the considerate attention of her" ], [ "\"We have been engaged these four years.\"\n\n\"Four years!\"\n\n\"Yes.\"\n\nElinor, though greatly shocked, still felt unable to believe it.", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "honour and love, and her companion's falsehood--\"Engaged to Mr. Edward\nFerrars!--I confess myself so totally surprised at what you tell me,", "turns out, I am monstrous glad there was never any thing in it), Mr.\nEdward Ferrars, it seems, has been engaged above this twelvemonth to my", "\"Mrs. Ferrars has never yet mentioned Edward's name, which does not\nsurprise us; but, to our great astonishment, not a line has been", "revealed, and he was listened to with unexpected calmness. Mrs.\nFerrars at first reasonably endeavoured to dissuade him from marrying", "\"I suppose you know, ma'am, that Mr. Ferrars is married.\"", "\"Is Mr. Edward Ferrars,\" said Elinor, with resolution, \"going to be\nmarried?\"", "At these words, Marianne's eyes expressed the astonishment which her\nlips could not utter. After a pause of wonder, she exclaimed--\n\n\"Four months!--Have you known of this four months?\"", "conceal from you. I am sure Edward Ferrars is not well. We have now\nbeen here almost a fortnight, and yet he does not come. Nothing but", "her design by saying, as calmly as she could, \"I like Edward Ferrars\nvery much, and shall always be glad to see him; but as to the rest of", "Elinor was prevented from making any reply to this civil triumph, by\nthe door's being thrown open, the servant's announcing Mr. Ferrars, and\nEdward's immediately walking in.", "\"What are Mrs. Ferrars's views for you at present, Edward?\" said she,\nwhen dinner was over and they had drawn round the fire; \"are you still\nto be a great orator in spite of yourself?\"", "It was as much, however, as was desired, and more than was expected, by\nEdward and Elinor; and Mrs. Ferrars herself, by her shuffling excuses,\nseemed the only person surprised at her not giving more.", "the secret, for you are a party concerned. I dare say you have seen\nenough of Edward to know that he would prefer the church to every other\nprofession; now my plan is that he should take orders as soon as he", "greatness. There is no reason on earth why Mr. Edward and Lucy should\nnot marry; for I am sure Mrs. Ferrars may afford to do very well by her", "She was silent.--Elinor's security sunk; but her self-command did not\nsink with it.\n\n\"Four years you have been engaged,\" said she with a firm voice.", "reconciled, by recollecting that Edward Ferrars, by Lucy's account, was\nnot to be in town before February; and that their visit, without any", "the matter, by all I can learn, seems to be this. Mr. Edward Ferrars,\nthe very young man I used to joke with you about (but however, as it", "lately; and who, treating her at once as the disinterested friend of\nMr. Ferrars, and the kind confidante of himself, talked to her a" ], [ "Of Edward, or at least of some of his concerns, she now received\nintelligence from Colonel Brandon, who had been into Dorsetshire", "\"It is perfectly true.--Colonel Brandon has given the living of\nDelaford to Edward.\"", "About four days after Edward's arrival Colonel Brandon appeared, to\ncomplete Mrs. Dashwood's satisfaction, and to give her the dignity of", "Edward, having carried his thanks to Colonel Brandon, proceeded with\nhis happiness to Lucy; and such was the excess of it by the time he", "\"Well, well; whatever Colonel Brandon may be, Edward is a very lucky\nman.--You will not mention the matter to Fanny, however, for though I", "Colonel Brandon again repeated his sorrow at being the cause of\ndisappointing the party; but at the same time declared it to be\nunavoidable.\n\n\"Well, then, when will you come back again?\"", "Edward heard with pleasure of Colonel Brandon's being expected at the\nCottage, as he really wished not only to be better acquainted with him,", "\"Yes,\" continued Elinor, gathering more resolution, as some of the\nworst was over, \"Colonel Brandon means it as a testimony of his concern", "indeed it is!\" and seemed almost ready to throw herself into his arms,\nwhen Colonel Brandon appeared.", "\"Colonel Brandon give ME a living!--Can it be possible?\"\n\n\"The unkindness of your own relations has made you astonished to find\nfriendship any where.\"", "\"Colonel Brandon, I think, lodges in St. James Street,\" said he, soon\nafterwards, rising from his chair.\n\nElinor told him the number of the house.", "and her gratitude for the particular friendship, which together\nprompted Colonel Brandon to this act, were strongly felt, and warmly\nexpressed. She thanked him for it with all her heart, spoke of", "\"I am not sorry to see you alone,\" he replied, \"for I have a good deal\nto say to you. This living of Colonel Brandon's--can it be true?--has", "Colonel Brandon farewell with a cordiality of a friend, was carefully\nassisted by him into the carriage, of which he seemed anxious that she", "\"Well, my dear, 'tis a true saying about an ill-wind, for it will be\nall the better for Colonel Brandon. He will have her at last; aye,", "\"My dear ma'am,\" said Elinor, \"what can you be thinking of?-- Why,\nColonel Brandon's only object is to be of use to Mr. Ferrars.\"", "having, for the first time since her living at Barton, more company\nwith her than her house would hold. Edward was allowed to retain the\nprivilege of first comer, and Colonel Brandon therefore walked every", "courting the favour of Colonel Brandon, of Mrs. Jennings, and of every\nwealthy friend. In Edward--she knew not what she saw, nor what she", "\"You surprise me very much. Colonel Brandon tell you of it! Surely\nyou must be mistaken. To give such intelligence to a person who could", "Colonel Brandon, the friend of Sir John, seemed no more adapted by\nresemblance of manner to be his friend, than Lady Middleton was to be" ], [ "\"When I see him again,\" said Elinor to herself, as the door shut him\nout, \"I shall see him the husband of Lucy.\"", "Lucy. What Mrs. Ferrars would say and do, though there could not be a\ndoubt of its nature, she was anxious to hear; and still more anxious to", "\"Good heavens!\" cried Elinor, \"what do you mean? Are you acquainted\nwith Mr. Robert Ferrars? Can you be?\" And she did not feel much\ndelighted with the idea of such a sister-in-law.", "\"No,\" replied Lucy, \"not to Mr. ROBERT Ferrars--I never saw him in my\nlife; but,\" fixing her eyes upon Elinor, \"to his eldest brother.\"", "Elinor was prevented from making any reply to this civil triumph, by\nthe door's being thrown open, the servant's announcing Mr. Ferrars, and\nEdward's immediately walking in.", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "Mrs. Dashwood now looked at her daughter; but Elinor knew better than\nto expect them. She recognised the whole of Lucy in the message, and", "\"You mean,\" answered Elinor, with forced calmness, \"Mr. Willoughby's\nmarriage with Miss Grey. Yes, we DO know it all. This seems to have", "Lucy's was infinitely worse. Neither of them were ever again to be\nmentioned to Mrs. Ferrars; and even, if she might hereafter be induced", "Elinor made her a civil reply, and they walked on for a few minutes in\nsilence. It was broken by Lucy, who renewed the subject again by\nsaying, with some hesitation,", "affair could there be, but that Elinor might be informed by it of\nLucy's superior claims on Edward, and be taught to avoid him in future?\nShe had little difficulty in understanding thus much of her rival's", "\"What poor Mrs. Ferrars suffered, when first Fanny broke it to her, is\nnot to be described. While she with the truest affection had been", "\"Do you know Mr. Robert Ferrars?\" asked Elinor.\n\n\"Not at all--I never saw him; but I fancy he is very unlike his\nbrother--silly and a great coxcomb.\"", "This of course made every body laugh; and Elinor tried to laugh too.\nBut the effort was painful. She was convinced that Margaret had fixed\non a person whose name she could not bear with composure to become a\nstanding joke with Mrs. Jennings.", "\"Was Mr. Ferrars in the carriage with her?\"\n\n\"Yes, ma'am, I just see him leaning back in it, but he did not look\nup;--he never was a gentleman much for talking.\"", "Elinor wished to talk of something else, but Lucy still pressed her to\nown that she had reason for her happiness; and Elinor was obliged to go\non.--", "Fanny looked very angry too, and her husband was all in a fright at his\nsister's audacity. Elinor was much more hurt by Marianne's warmth than", "Lucy was silenced.\n\n\"I am sorry we cannot see your sister, Miss Dashwood,\" said Miss\nSteele. \"I am sorry she is not well--\" for Marianne had left the room\non their arrival.", "\"It is indeed for Mrs. Jennings; how provoking!\"\n\n\"You are expecting a letter, then?\" said Elinor, unable to be longer\nsilent.\n\n\"Yes, a little--not much.\"", "Marianne could not bear this.--She was already greatly displeased with\nMrs. Ferrars; and such ill-timed praise of another, at Elinor's" ], [ "\"Perhaps you do not know--you may not have heard that my brother is\nlately married to--to the youngest--to Miss Lucy Steele.\"", "\"When I see him again,\" said Elinor to herself, as the door shut him\nout, \"I shall see him the husband of Lucy.\"", "Edward, having carried his thanks to Colonel Brandon, proceeded with\nhis happiness to Lucy; and such was the excess of it by the time he", "\"I would by no means speak disrespectfully of any relation of yours,\nmadam. Miss Lucy Steele is, I dare say, a very deserving young woman,", "Lucy was silenced.\n\n\"I am sorry we cannot see your sister, Miss Dashwood,\" said Miss\nSteele. \"I am sorry she is not well--\" for Marianne had left the room\non their arrival.", "\"We can mean no other,\" cried Lucy, smiling. \"Mr. Edward Ferrars, the\neldest son of Mrs. Ferrars, of Park Street, and brother of your", "close by Lucy Steele, and gave her, in a whisper, a brief account of\nthe whole shocking affair.", "whatever promise she required; and at her request, Marianne engaged\nnever to speak of the affair to any one with the least appearance of\nbitterness;--to meet Lucy without betraying the smallest increase of", "\"No,\" replied Lucy, \"not to Mr. ROBERT Ferrars--I never saw him in my\nlife; but,\" fixing her eyes upon Elinor, \"to his eldest brother.\"", "\"Oh,\" cried Miss Steele, looking significantly round at them, \"I dare\nsay Lucy's beau is quite as modest and pretty behaved as Miss\nDashwood's.\"", "expect Mr. Ferrars to give up a woman like Miss Morton, with thirty\nthousand pounds to her fortune, for Lucy Steele that had nothing at", "yourself, for Lucy Steele is my cousin, and I believe there is not a\nbetter kind of girl in the world, nor one who more deserves a good\nhusband.\"", "Elinor made her a civil reply, and they walked on for a few minutes in\nsilence. It was broken by Lucy, who renewed the subject again by\nsaying, with some hesitation,", "From this time the subject was never revived by Elinor, and when\nentered on by Lucy, who seldom missed an opportunity of introducing it,", "loved him most sincerely, could she feel less than herself! As for\nLucy Steele, she considered her so totally unamiable, so absolutely", "Lucy. What Mrs. Ferrars would say and do, though there could not be a\ndoubt of its nature, she was anxious to hear; and still more anxious to", "affair could there be, but that Elinor might be informed by it of\nLucy's superior claims on Edward, and be taught to avoid him in future?\nShe had little difficulty in understanding thus much of her rival's", "\"Perhaps,\" continued Elinor, \"if I should happen to cut out, I may be\nof some use to Miss Lucy Steele, in rolling her papers for her; and", "and certainty itself. She now found, that in spite of herself, she had\nalways admitted a hope, while Edward remained single, that something\nwould occur to prevent his marrying Lucy; that some resolution of his", "greatness. There is no reason on earth why Mr. Edward and Lucy should\nnot marry; for I am sure Mrs. Ferrars may afford to do very well by her" ] ]

[ "What is Henry's son's name?", "What does John inherent after Henry dies?", "What promise does Fanny convince John to renig on?", "What does Maryanne get caught in, causing her to slip break her ankle?", "What does Maryanne break after slipping in the rain?", "Where is Barton Cottage?", "Who's guest are the Steele's when they come to London?", "What does Willoughby reveal to Elinor about his love for Maryanne?", "What did Willoughby feel he had to marry for?", "What happens to Norland Park once Mr. Henry Dashwood dies?", "Why is Mrs. Dashwood in a hurry to move her and her daughters out of Norland Park?", "Where do Mrs. Dashwood and her daughters move?", "Why does Mr. Willoughby visit Elinore while Marianne is ill?", "How does Marianne decide to respond to Willoughby's return?", "Why was Edward disinherited? ", "What happens between Edward and Lucy after Edward is disinherited?", "Who does Marianne come to love and marry?", "Who does Elinore come to marry?", "Who does Mrs. Jennings take Elinore and Marianne to the country to go visit?", "When his father, Henry Dashwood, dies, what does John Dashwood inherit?", "Why do Mrs. Dashwood and her daughters feel compelled to move away from Norland Park?", "Which Dashwood daughter captures the affection of Edward Ferrars?", "What relation is Edward Ferrars to Fanny Dashwood?", "Why does Marianne reject the notion of Colonel Brandon's affection in the beginning?", "Who comes to Marianne's aide when she slips and sprains her ankle?", "To whom was Edward Ferrars secretly engaged for four years?", "When Edward is disinherited, how does Colonel Brandon offer assistance?", "When news of Lucy marrying \"Mr. Ferrars\" reaches Elinor, how does she react?", "To whom did Lucy Steele eventually marry?" ]

[ [ "John", "John Dashwood" ], [ "Henry's house", "He inherits Norlan Park." ], [ "To take care of his half sisters", "take care of Mr Dashwoods half sisters" ], [ "the rain", "The rain." ], [ "her ankle", "Her ankle" ], [ "Devonshire", "It is in Devonshire." ], [ "John & Fanny's", "John and Fanny Dashwood" ], [ "It is genuine", "It was genuine." ], [ "Money", "money" ], [ "It is passed inherited directly by his only son. ", "His only son John inherited it." ], [ "Because of the unwelcoming behavior of John Dashwood's wife, Fanny. ", "They are being treated poorly." ], [ "To Barton Cottage in Devonshire. ", "Barton Cottage in Devonshire." ], [ "To repent and declare that his love for Marianne was genuine. ", "to confess his true love for Marianne" ], [ "She decides that Willoughby is unsuitable for her and models her behavior after Elinore's conduct. ", "She sees she could never be happy with Willoughby." ], [ "Because of his intended marriage to Lucy.", "his behavior towards Mrs. Williams" ], [ "Lucy favors his brother Robert for his inheritance and marries him instead. ", "Lucy abandoned Edward to talk to another wealthy man" ], [ "Colonel Brandon.", "Colonel Brandon" ], [ "Edward. ", "Edward." ], [ "Mrs. Jennings second daughter. ", "her second daughter" ], [ "He inherits the family home, Norland Park.", "his father house and Norland Park" ], [ "John's wife Fanny offends Mrs. Dashwood by implying her daughter is money-hungry.", "they are treated poorly by John and his wife, Fanny" ], [ "Elinor Dashwood", "Lucy" ], [ "He is her brother.", "her brother" ], [ "Marianne believes Colonel Brandon is an old bachelor with no interest in love.", "She sees him as an old bachelor that can't love." ], [ "John Willoughby", "John Willoughby helps her." ], [ "Lucy Steele", "Elinor" ], [ "Colonel Brandon offers Edward the position in the Delaford parsonage.", "he marries Marianne" ], [ "Elinor grieves because she was in love with Edward Ferrars.", "She grieves." ], [ "Robert Ferrars, Edward's brother.", "Robert Ferrars." ] ]

[ [ "But when he came to the oak-tree again, lo, the knight and the Lady\nboth kneeling over the body of the Black Knight, and Ralph saw that the", "So Ralph looked, and saw that they had stripped the knight of his\nhauberk and helm, and bared his body, and that the Lady was dressing a", "Then Ralph lighted down from his horse, and the woman rose up to him,\nher white smock all bloody with the slain man. Nevertheless was she as", "So she spake, and Ralph yet lay on the grass and heard nought. But the\nKnight's face was dark and swollen with anger as he answered: \"My sworn", "Ralph, he smote a tall man full on the breast and pierced him through\nand through, and then pulled out the Upmeads blade and smote on the", "of her captive should be set against the slaying.\" \"That is but\nright,\" said the captain; \"but Sir Ralph, I bid thee take the word of", "Said Ralph: \"It were naught to say less than the truth; and this is\nthe very truth, that thou shalt never see thy Lady any more. I was the\nlast living man that ever saw her alive.\"", "Then went Ralph into the cave, and brought forth the armour and did it\non her, and kissed her, and so went his ways to the carcase of the", "Then the Knight of the Sun rose up slowly and stood on his feet and\nfaced the Lady and seemed not to see Ralph, for his back was towards", "Then the Knight of the Sun hastened down to the strand to meet him, and\nwhen Ralph was thus left alone with the Lady, though it were but for a", "But Ralph gave forth a great wail of woe, and ran forward and knelt by\nthe Lady, who lay all huddled up face down upon the grass, and he", "with us, lad.\" So Hugh passed on quietly toward the band, while Ralph\nturned to the knight again, who said to him, \"Who is that man?\" \"He is", "Then another man was gotten to run against Ralph, and it went the\nsame-like way: for Ralph smote him amidst of the shield, and the spear\nheld, so that he fell floundering off his horse.", "Now Ralph sat up and looked about him, and when he saw the Lady he\nfirst blushed red, and then turned very pale; for the full life was in", "\"Look over thy left shoulder,\" she said. He turned, and saw Ralph\ndrawing near, sword in hand, smiling, but somewhat pale. He drew aback", "But Ralph took his knight's cloak of red scarlet, and they lapped the\nwild-man therein, who had once been a champion beworshipped. But first", "After a while Ralph spake and said: \"O elder, and ye folk of the\nPeople of Abundance, true it is that your Lady who is dead loved me,", "Then at last came the question to Ralph concerning his adventures, and\nhe enforced himself to speak, and told all as truly as he might,\nwithout telling of the Lady and her woeful ending.", "will speak of it.\" Said Ralph: \"Why didst thou say that she hath slain\nhim?\" \"I was put out of my wits by the sight of him dead,\" said Bull;", "Then once more Ralph heard the voice, which he remembered so sweet\namidst peril and battle aforetime, as she said as coldly as the Knight:" ], [ "I but a single varlet.\" And he smiled a little sourly on Ralph; who\nheeded it little, but took Ursula's hand and went his way with her.", "So the carle went up to Ursula, and peered closely into her face, and\ntook her hand and looked on it, and knelt down and took her foot out of", "So they sat down again, and Ralph arose and took Ursula by the hand,\nand stood with her before the elder, and said: \"This maiden, who is my", "So he went up to the bed and stood over Ursula, while she, who was not\nfully awake, smiled up into his face. The old man smiled back at her", "sorely. So when he came up, and saw Ursula sitting on the grass with\nfour or five men about her, he sickened for fear; but she rose up and", "Ralph thought for a moment, and deemed it best to say as little as he\nmight concerning Ursula; so he answered, and his voice grew loud and", "Then he felt a hand come on to his cheek, and lo, Ursula beside him,\nher cheeks flushed and her eyes glittering; and she cried out: \"O thine", "They that held me at the font bid the priest call me Ursula, after the\nFriend of Maidens. But what is thy name?\"", "this Ursula. Forsooth, I tell thee that if I durst have her in my\nhands I would have a true tale out of her as to why she weareth ever", "\"Yea,\" said Ursula, \"and what hath befallen that evil young man,\nCaptain?\" Said Redhead: \"It is not known to many, lady; but two days", "Therewith he knelt down before Ursula, and kissed her feet, but\nreverently. And she stooped down and raised him up, with a merry", "Then the Dame of Upmeads put her arms about Ursula's neck again, and\nbade her all welcome once more, with sweet words of darling and dear,\nand well-beloved daughter.", "him a woman so valiant and lovely as is my Lady Ursula. So thou must\ne'en take the life that fate hath sent thee.\" Katherine laughed through", "nodded friendly to him. As to Ursula, she flushed as red as a rose\nwhen she set eyes on him, for she said to herself that he was as one of", "So Ralph and Ursula went forth, and came within a stone's cast of the\nbarrier, when Ralph lifted up his voice and said: \"Is there a captain", "Upmeads.\" And without more words he went up to Ursula and took her hand\nand went out of the hall, and down the rock-cut stair, and all they", "Then Ursula looked beseechingly at the Dame, who took her in her arms\nand clipped her and kissed her; and said, \"Welcome, daughter; for I\nfeel thy body that thou lovest me.\"", "amongst the kindred as lover and beloved; and thou, Ursula, art now at\nlast the bride of this ancient house; now tell me, doth it not look\nfriendly and kindly on thee?\"", "who rode by him now as Ursula. But Richard spake: \"Short is the tale\nto tell. I slew him in shock of battle, and his men craved peace of", "\"Ursula,\" she said. Said he: \"Ursula, thy palms are harder than be\nthe hands of the dainty dames of the cities, but there is no churls'" ], [ "\"Ah,\" she said, \"thou hast read in the book--well, I will tell thee the\nstory very soon, and that the more since there are matters written", "\"When I had heard the tale of the old man I was moved to my inmost\nheart, and I scarce knew what to say. But now this long while fear was", "for his eating, and he saw them lying thereby, and hunger constrained\nhim, so he took and ate of them while the tears ran down his face and", "She stroked his face again and said: \"Long were the tale if I told\nthee all. After he had driven me out, and I had fled from him, he fell", "But in his heart Ralph was thinking of that last tale of the woman whom\nthe young man had met such a little while ago; and it seemed to him", "hath in it some deal of his very mind and the wisdom of him. But now\nlet her tell thee her tale (which forsooth I know not), for night is\ngrowing old.\"", "\"Well, the end of it was that he told me thus: That by night and moon\nhe came on one riding the highway, just about where the other woman had", "before them, and much people brought them on the way. By St.\nChristopher! I can see it all as if it were yesterday. I was sorry of", "believe thee. But mayhappen thou mayst tell me of one thing that thou\ndesirest more than another.\" Said Ralph: \"I desire to die.\" And the", "\"But the woman drew a strong sharp knife from her girdle and cut the\nbeast's throat, and dipped her fingers in the blood and reddened both", "So at last they drew apart a little, and walked quietly toward the\nrock-house hand in hand. And on the way she told him that even as she", "Said the Captain: \"Thou wilt marvel that I have ridden after thee on\nthe spur; so here is the tale shortly. Your backs were not turned on", "of her, but of himself and how kind she was to him. But after a while\nhe mastered his passion and began, and told her all he had done and", "betwixt you two, and then there will be an end of the story.\"", "heart, but I stepped over the threshold, and as the door of the chamber\nwas open, I looked aside and saw therein the woman sitting stark naked\non the floor with a great open book before her, and it was from her", "for he is stronger than thou, and hath vanquished thee. This is a\ndesert place, but thou art loud, and maybe over loud. Come rest by me.\"", "women servants were given me who led me to the bath and clad me in\ndainty raiment, and gave me to eat and to drink, and all that I needed.\nThat is all my tale for this time.\"", "\"Therewith the men cried out to me to come away, for they would shoot:\nBut I called out; 'Shoot not yet! but tell me, does any man own this", "concerning him, that neither death nor wounding had befallen him; and\nthat his masterless horse and bloodstained saddle were but a device to", "\"Well then,\" said Richard, \"maybe thou wilt think me the better\ntale-teller.\" \"Tell on then,\" quoth Richard. So they went and sat them\ndown in a window, and Richard said:" ], [ "Now Ralph holds his peace, and they speed on their way, Ursula riding\nclose by Ralph's side, and caressing him with looks, and by touch also", "Then Ralph turned to Ursula and raised her up and kissed her, and they\nwent down all of them from that place of death and ill-hap, and gat to", "So they sat down again, and Ralph arose and took Ursula by the hand,\nand stood with her before the elder, and said: \"This maiden, who is my", "her. Now they two were riding on somewhat ahead of the others, so\nRalph turned to Ursula, and asked what ailed her. She smiled on him", "shall be none above thee.\" And therewith he set Ralph down in the\nthrone, and Ralph, turning to his left hand, saw that it was Ursula,", "Thus then they went their ways; but Ralph noted of Ursula that she was\nsilent and shy with him, and it irked him so much, that at last he said", "So they sat down side by side, and Ralph would have taken Ursula's hand\nto caress it, but she drew it away from him; howbeit she found it hard", "him, and feared the horses of those twain more than their riders. And\nnow as Ursula knelt to embrace Ralph with one hand, she held out the", "silently, and Ralph was still downcast and sad, but Ursula looked on\nhim fondly.", "now, this is the bath of the water of the ocean sea.\" So they were\nspeedily naked and playing in the water: and Ursula took Ralph by the", "Ralph thought for a moment, and deemed it best to say as little as he\nmight concerning Ursula; so he answered, and his voice grew loud and", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "the Sage of Swevenham and Ursula. And she was grown pale now and\nlooked somewhat scared, and she spake in a trembling voice to Ralph,", "praised his wisdom. But while the old man mended the fire Ralph went\nup to Ursula and took her hand, and said: \"Welcome to life,", "Ralph heeded him no more, but drew Ursula away from him, and raised her\nup and laid her head upon his knee; and she had not quite swooned away,", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "Said Ursula (and her voice was firm and the colour come back to her\ncheeks now, while Ralph stood agaze and wondering): \"Roger, thou lovest", "Ralph arose from his seat and strode up and down the chamber a while;\nthen he went to bed, and stood over Ursula, who lay twixt sleeping and", "But Ralph got off his horse, and Ursula did in likewise, and they both\nkissed and embraced the old man, for their hearts were full and fain.", "But as Ralph was gathering his words together, and Ursula was looking\nup to him with trouble in her face again, came a man of the thorp" ], [ "They looked at one another, and the three younger ones nodded at Blaise\nthe eldest: so he began, and said: \"Saving the love and honour that", "She answered nought, but rode her horse close to him and lighted down\nnimbly, while his greedy eyes devoured her beauty. Then he took her", "So he lay down in his bed and slept, and dreamed that he was fishing\nwith an angle in a deep of Upmeads Water; and he caught many fish; but", "\"Moreover, that young champion who had first stood up in the hall rode\nwith us still, when the others had turned back; and I soon saw of him", "And now there come riding across the field two warriors. They draw\nrein by the mound, and one lights down, and lo! it is Long Nicholas;", "\"Yea, one while as we sojourned by a certain town but a little outside\nthe walls, a certain young man, a great champion and exceeding", "\"I am Ralph of Upmeads,\" quoth he; and sat a while silent, pondering\nhis dream and how it had betrayed him as to her name, when it had told\nhim much that he yet deemed true.", "Now on the second day of their riding this ugly waste, as they came up\nover the brow of one of these stony ridges, Ralph the far-sighted cried\nout suddenly: \"Hold! for I see a man weaponed.\"", "I left Utterbol a month ago, I saw a damsel brought in captive there,\nand she seemed to me so exceeding fair that I looked hard on her, and", "So at last they drew apart a little, and walked quietly toward the\nrock-house hand in hand. And on the way she told him that even as she", "\"Ah,\" she said, \"thou hast read in the book--well, I will tell thee the\nstory very soon, and that the more since there are matters written", "She stroked his face again and said: \"Long were the tale if I told\nthee all. After he had driven me out, and I had fled from him, he fell", "He laughed, and said: \"Maybe because I think that thou canst not tell\nme thereof.\" \"Well,\" she said, \"if I cannot, yet the book may, and\nthis evening, when the sun is down, thou shalt have it.\"", "But when he had come nigher, he turned and cried out to her: \"The man\nis dead, come anigh.\" So she went up to him and dismounted, and they", "So they went on soberly till the priest lifted up his head and looked\nabout like one come out of slumber, and said in a firm voice: \"I tell", "lifted her up and laid her gently on her back. The blood was flowing\nfast from a great wound in her breast, and he tore off a piece of his", "He drew her down to him as he knelt there, and took his arms about her,\nand though she yet shrank from him a little and the eager flame of his", "\"Then she was silent, but the young man at whom she had pointed blushed\nred and stared at her wide-eyed, but said no word. But I spake: 'Well", "\"Hail, all ye folk! I swear by the Bull, and they that made him, that\nin three years' time or less I will have purged all the lands of", "And therewith he took her hands in his and drew her to him, and put his\narms about her and kissed her many times, and she nothing lothe by\nseeming; and he found her as sweet as May blossom." ], [ "Then Ralph turned to Ursula and raised her up and kissed her, and they\nwent down all of them from that place of death and ill-hap, and gat to", "Now Ralph holds his peace, and they speed on their way, Ursula riding\nclose by Ralph's side, and caressing him with looks, and by touch also", "So they sat down again, and Ralph arose and took Ursula by the hand,\nand stood with her before the elder, and said: \"This maiden, who is my", "Thus then they went their ways; but Ralph noted of Ursula that she was\nsilent and shy with him, and it irked him so much, that at last he said", "So Ralph and Ursula went forth, and came within a stone's cast of the\nbarrier, when Ralph lifted up his voice and said: \"Is there a captain", "her. Now they two were riding on somewhat ahead of the others, so\nRalph turned to Ursula, and asked what ailed her. She smiled on him", "But as Ralph was gathering his words together, and Ursula was looking\nup to him with trouble in her face again, came a man of the thorp", "shall be none above thee.\" And therewith he set Ralph down in the\nthrone, and Ralph, turning to his left hand, saw that it was Ursula,", "Ralph thought for a moment, and deemed it best to say as little as he\nmight concerning Ursula; so he answered, and his voice grew loud and", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "\"Better than well is thy story then,\" said Ralph. \"Now let them bring\nme a horse.\" So when he was horsed, he kissed Ursula and went his", "Ralph heeded him no more, but drew Ursula away from him, and raised her\nup and laid her head upon his knee; and she had not quite swooned away,", "the Sage of Swevenham and Ursula. And she was grown pale now and\nlooked somewhat scared, and she spake in a trembling voice to Ralph,", "Ralph arose from his seat and strode up and down the chamber a while;\nthen he went to bed, and stood over Ursula, who lay twixt sleeping and", "Ralph. At last he spake to Ursula, and said: \"Grant me a grace, lady,\nand be not wroth if I take thy man into the window yonder that I may", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "that he might take of the water in the hollow of his hand. But Ursula\ndrew him back, and cried out in terror: \"O Ralph, do it not! Seest", "So the tribesmen gat them into order, and their Duke went on the left\nside of Ralph, while Ursula rode on his right hand. The Duke and all", "him, and feared the horses of those twain more than their riders. And\nnow as Ursula knelt to embrace Ralph with one hand, she held out the", "Ralph drew rein, and turned thither whence the cry came, and Ursula saw\na man wide-shouldered, grey-haired, blue-eyed, and ruddy of" ], [ "(though these last were mostly old men and lads), they were a thousand\nand four score and three. Ralph would go afoot as he went yesterday;\nbut today he bore in his hand the ancient staff of war, the", "So they did after his bidding, and by then they had come back to Ralph\nthose three men were at the foot of the hill, which was but low. Then", "the wild men. Now they were three-score and two all told, but of these\nbut a score of men-at-arms besides Ralph, and Clement, who was a stout", "So came they to the chief quarters of the fighting men, and Ralph had\nall the leaders called to him, and he spake to them of how they should", "over-many and over-fierce for us.\" \"Yea,\" said Ralph, \"and how many be\nthey?\" Quoth Clement: \"How many men may be amongst them I wot not, but", "So streamed in these weaponed men till Ralph saw that it was a great\nhost that was entering the Burg; and his heart rose within him, so", "So when they had eaten and drunk, Ralph bade the Shepherds array them\nduly, and appointed them leaders of tens and hundreds with the help of", "behind them, drew up in wise at the wayside, and or ever Ralph could\nask any question, came a band of men-at-arms at the gallop led by", "Then Ralph looked along the ridge to right and left of him, and saw\nthat all the host had come up and had a sight of the foemen; on the", "So Ralph drew sword and beckoned his men up, and they all handled their\nweapons and rode over the brow, and tarried not one moment there, not", "Now Roger comes to Ralph and tells him that he deems his host hath come\nto the last man. Then Ralph armed him, and those two maidens brought", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "there. But Ralph, though he looked over his shoulder at it all, yet\nrode on steadily, and when he saw that the others lingered, he waved", "So when they were told over and made five hundred and fifty and four,\nthey gat them into array for the road; and Ralph went afoot with no", "Now at last Ralph waxed somewhat wroth, and he said: \"Come out then, if\nyou will, and we shall meet you man for man; there is yet light on this", "Toward evening comes Redhead, and tells Ralph how he hired him a dozen\nmen-at-arms to follow him well-weaponed to Cheaping Knowe: withal he", "\"How many all told?\" said Ralph The man reddened and stammered: \"A\nthousand--two--two thousand--A thousand, lord,\" said he. \"Get thy", "When it was barely dawn after that night, Ralph awoke with the sound of\ngreat stir in the camp, and shouting of men and lowing and bleating of", "So they went in the fresh morning over the old familiar fields, and\nstrange it seemed to Ralph that he was leading an host into the little", "leading up from the grange, and now took no care to go softly, nor\nheeded the clashing of their armour. Ralph ran with the best and" ], [ "\"As a brother,\" quoth Ralph.", "He had four sons whose names were Blaise, Hugh, Gregory and Ralph: of\nthese Ralph was the youngest, whereas he was but of twenty winters and\none; and Blaise was the oldest and had seen thirty winters.", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "\"And his brother,\" said Ralph, \"the big captain that I have come across\nthese four times, doth he desire thee also?\" She laughed and said:\n\"But as others have, no more: he will not slay any man for my sake.\"", "Now Ralph mounts, and they all ride away together. On the way, partly\nfor brotherhood's sake, partly that he might not be questioned overmuch", "brother, whilst Ralph with the captain and four others went and sought\nall about the place, and looked into all clefts of rocks, and found not", "\"Brother,\" said Ralph kindly, \"she is my wife.\"\n\n\"I kiss her hands,\" said Hugh; \"but of what lineage is she?\"", "three. And ever when Ralph thus spoke was a brother of the House\nsitting with the Prior, which brother was a learned and wise man and\nvery speedy and deft with his pen. Wherefore it has been deemed not", "Ralph rode with his brother to the hostel of the chapmen, and there\nthey were well lodged.\n\n\n\nCHAPTER 13", "Ralph looked on him, but answered nought, for he could not gather his\nthoughts for an answer; and the brother said: \"Think of it, I bid thee,", "\"Nevertheless,\" said Ralph, \"I must needs cast my arms about my own\nmother's son before I depart: so go we now, as all this talk hath worn\naway more than an hour of those four that were left me.\"", "Ralph asked Hugh first if he wotted aught of Gregory their brother.\nHugh laughed and pointed to Higham, and said: \"He is yonder.\" \"What,\"", "Ralph and knelt before him and kissed his feet; then he turned and\ncalled to him three of the others who were of the stoutest and most", "The three hazy days past, it fell to rain for four days, so that Ralph\ncould see little of the face of the land; but he noted that they went", "(though these last were mostly old men and lads), they were a thousand\nand four score and three. Ralph would go afoot as he went yesterday;\nbut today he bore in his hand the ancient staff of war, the", "over-many and over-fierce for us.\" \"Yea,\" said Ralph, \"and how many be\nthey?\" Quoth Clement: \"How many men may be amongst them I wot not, but", "there. But Ralph, though he looked over his shoulder at it all, yet\nrode on steadily, and when he saw that the others lingered, he waved", "\"Yea, yea,\" said Ralph, \"what then? I came not hither to hear thee\nmissay my mother's sons.\" But Richard went on: \"As for thee, lord", "So they did after his bidding, and by then they had come back to Ralph\nthose three men were at the foot of the hill, which was but low. Then", "Ralph, but said nothing, and Ralph heeded not his looks, for his eyes\nwere busy devouring the Lady." ], [ "He had four sons whose names were Blaise, Hugh, Gregory and Ralph: of\nthese Ralph was the youngest, whereas he was but of twenty winters and\none; and Blaise was the oldest and had seen thirty winters.", "High House of Upmeads, and sent for his four sons to come to him. And\nthey came and stood before his high-seat and he said:", "But King Peter said: \"Son, thou hast not told me what thou are become;\nand true it is that thou hast the look of a great one.\"", "King Peter's sons found themselves straitened in their little land:\nwherein was no great merchant city; no mighty castle, or noble abbey of", "Peter that his son was come back victorious already; so that by then he\nhad dismounted at the Guest-house door, lo! there was the King and his", "Peter of Upmeads!\" And the old man stopped and said unto him: \"Yea,\nforsooth, my name is Peter, and my business is to be a king, or a", "Then Ralph knelt before them, and King Peter and his wife blessed their\nson when they had kissed and embraced each other, and they wept for joy", "none who were not friends to King Peter and his sons: and that was\nwell, for now were folk stirring and were abroad in the fields; as a", "wife with him, and both they alboun for departure. And when they saw\nhim King Peter cried out: \"There is no need to say a word, my son;", "Now spake King Peter: \"Fair sons, ye would go on all adventure to seek\na wider land, and a more stirring life than ye may get of me at home:", "men, and to strive for life. For though they were king's sons, they\nhad but little world's wealth; save and except good meat and drink, and", "bade Ursula sit by his mother, and made him ready to sit by his father\nin all love and duty. But King Peter stayed him and said: \"Nay, dear", "So each young man came up in turn and drew; and King Peter laid the\nstraws together and looked at them, and said:", "was gone, and King Peter said: \"There again! thou seest, wife, it is\nhe that commands and we that obey.\"", "So the feast went on a while till the night grew old, and folk must\nfare bedward. Then King Peter and his wife brought Ralph and Ursula to", "Peter and his sons rode therein at their peril: but great plenty was\ntherein of all wild deer, as hart, and buck, and roe, and swine, and", "it last of all to King Peter, and he stood up with the River in his\nhand and spoke aloud, and said: \"Lords and warriors, and good people", "Long ago there was a little land, over which ruled a regulus or\nkinglet, who was called King Peter, though his kingdom was but little.", "Ralph and King Peter walked slowly home together, and as they went King\nPeter fell to telling of how in his young days he rode in the Wood", "four destriers, and four hackneys, and four squires withal. So they\ncame and stood before their father, waiting for his word, and wondering\nwhat it would be." ], [ "When they were gotten a mile or two from Whitwall, and all was going\nsmoothly, Clement came up to Ralph and rode at his left hand, and fell", "lowly. At last, of an afternoon, they saw before them afar off the\ntowers and pinnacles of Whitwall, and Ralph's heart rose within him, so", "Ralph turned his head as one awaking from a dream, and he said: \"When\nshall to-morrow be, that we may get us gone from Whitwall, we three,\nand turn our faces toward Upmeads?\"", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "Ralph asked Hugh first if he wotted aught of Gregory their brother.\nHugh laughed and pointed to Higham, and said: \"He is yonder.\" \"What,\"", "CHAPTER 12\n\nRalph Falleth in With Friends and Rideth to Whitwall", "CHAPTER 18\n\nRalph Departeth From Whitwall With the Fellowship of Clement Chapman", "abiding at Whitwall, in the morning when all the chapmen were gone\nabout their business, and he and Ralph were left alone in the Hall, he", "Now Ralph looks about him, and presently he sees a man come forward to\nmeet him from the innermost of the booth, and lo! there was come", "Then Ralph knew him, that he was the tall champion whom he had met\nfirst at the churchyard gate of Netherton; so he said: \"I know thee", "thriving greatly) but Ralph would not go anigh it lest his brother\nshould entangle him in talk; and they went into the Guildhall which was", "stage for the show that should come thereafter. So the brother led\nRalph down a lane to the south of the great west door, and along the", "\"As a brother,\" quoth Ralph.", "whispered to Ralph: \"Friends. Get out thy sword!\" Wherewithal the\ngate was opened, and they all passed out through the wall, and stood", "\"So it is,\" said Ralph.\n\n\"And whither away?\" said the monk; \"hast thou some kinsman or friend in\nthe town?\"", "\"Well, brother,\" said Ralph, \"all that shall be amended, and thou shalt\nback to Upmeads with me. Yet wert thou to amend thyself somewhat, it\nmight not be ill.\"", "So they did after his bidding, and by then they had come back to Ralph\nthose three men were at the foot of the hill, which was but low. Then", "meet them, and stood round wondering at them; but an old carle came\nfrom out the throng and went up to Ralph, and hailed him, and said:", "Ralph looked on him, but answered nought, for he could not gather his\nthoughts for an answer; and the brother said: \"Think of it, I bid thee,", "Ralph pondered a while, and then he said: \"Brother, hast thou any\ntidings of Upmeads, or that these Burgers have gone down thither?\" \"God" ], [ "\"Father,\" said Ralph, \"we have come a long way on an errand of life or\ndeath; for we seek the WELL at the WORLD'S END. And see ye the token", "CHAPTER 3\n\nRalph Meeteth With Another Adventure in the Wood Under the Mountain", "Then Ralph let a cry out from his mouth, and set off running to the\nside of the slope, and fell to climbing it with great strides, not", "CHAPTER 15\n\nRalph Dreams a Dream Or Sees a Vision", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "CHAPTER 33\n\nRalph is Brought on the Road Towards Utterbol", "CHAPTER 11\n\nNow Must Ralph Ride For It", "Then Ralph forgot his fear, and his heart grew greedy and his eyes\nglistened, and he said, yet he spoke faintly: \"Yea, is she fair?\"", "So rode Ralph till the sun was at point to rise, and he was about the\nmidst of one of those clearings or wood-lawns, on the further side", "But Ralph left alone was sorely moved with hope and fear, and a longing\nthat grew in him to see the damsel. For though he was firmly set on", "CHAPTER 8\n\nRalph Cometh to the Wood Perilous. An Adventure Therein", "Then Ralph knelt down by him, for he began to have a deeming of what he\nwas, and he put his face close to the dying man's, and said to him; \"I\nam here, what wouldst thou?\"", "Ralph, but said nothing, and Ralph heeded not his looks, for his eyes\nwere busy devouring the Lady.", "CHAPTER 19\n\nRalph Readeth in a Book Concerning the Well at the World's End", "CHAPTER 2\n\nRalph Rides the Wood Under the Mountains", "there. But Ralph, though he looked over his shoulder at it all, yet\nrode on steadily, and when he saw that the others lingered, he waved", "\"How so?\" said Ralph. Said Otter: \"That way lieth the way to the Well\nat the World's End, if one might find it. If at any time we were clear", "For a while they looked down silently on to this marvel then from both\ntheir lips at once came the cry THE DRY TREE. Then Ralph thrust his", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "his head; but Ralph cried out: \"O Master Clement, and hast thou seen\nit, the Wall of the World?\" \"Yea, afar off, my son,\" said he; \"or what" ], [ "Then Ralph turned to Ursula and raised her up and kissed her, and they\nwent down all of them from that place of death and ill-hap, and gat to", "Now Ralph holds his peace, and they speed on their way, Ursula riding\nclose by Ralph's side, and caressing him with looks, and by touch also", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "So they sat down again, and Ralph arose and took Ursula by the hand,\nand stood with her before the elder, and said: \"This maiden, who is my", "Said Ursula (and her voice was firm and the colour come back to her\ncheeks now, while Ralph stood agaze and wondering): \"Roger, thou lovest", "Thus then they went their ways; but Ralph noted of Ursula that she was\nsilent and shy with him, and it irked him so much, that at last he said", "now, this is the bath of the water of the ocean sea.\" So they were\nspeedily naked and playing in the water: and Ursula took Ralph by the", "before sunset, and feasted till the night was come, and was grown all\nlight with the moon; and then Ralph rose up, and took Ursula's hand,", "shall be none above thee.\" And therewith he set Ralph down in the\nthrone, and Ralph, turning to his left hand, saw that it was Ursula,", "her. Now they two were riding on somewhat ahead of the others, so\nRalph turned to Ursula, and asked what ailed her. She smiled on him", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "\"Better than well is thy story then,\" said Ralph. \"Now let them bring\nme a horse.\" So when he was horsed, he kissed Ursula and went his", "him, and feared the horses of those twain more than their riders. And\nnow as Ursula knelt to embrace Ralph with one hand, she held out the", "So Ralph lay down and Ursula also, but Ralph lay long awake watching\nthe light above him, which grew fiercer and redder in the hours betwixt\nmoonset and daybreak, when he fell asleep, and woke not again till the\nsun was high.", "and turning to Ralph, cast her arms about him, and kissed his face many\ntimes, blushing red as a rose meantime. Then lightly she gat her up", "Ralph arose from his seat and strode up and down the chamber a while;\nthen he went to bed, and stood over Ursula, who lay twixt sleeping and", "praised his wisdom. But while the old man mended the fire Ralph went\nup to Ursula and took her hand, and said: \"Welcome to life,", "the Sage of Swevenham and Ursula. And she was grown pale now and\nlooked somewhat scared, and she spake in a trembling voice to Ralph,", "I but a single varlet.\" And he smiled a little sourly on Ralph; who\nheeded it little, but took Ursula's hand and went his way with her.", "It befell on a fair sunny morning of spring, that Ralph sat alone on\nthe toft by the rock-house, for Ursula had gone down the meadow to" ], [ "\"Yea,\" said Ralph, \"I have had one guide in this country-side and he\nbewrayed me. This is a matter of life and death, so I will speak out", "\"Yea then,\" quoth Ralph, \"then he also is a traitor!\" \"Nay, nay,\" she\nsaid, \"he is a true man and loveth thee, and whatever he hath said to", "So fell the talk betwixt them.\n\n\n\nCHAPTER 38\n\nA Friend Gives Ralph Warning", "CHAPTER 15\n\nRalph Dreams a Dream Or Sees a Vision", "Then Ralph forgot his fear, and his heart grew greedy and his eyes\nglistened, and he said, yet he spoke faintly: \"Yea, is she fair?\"", "Then Ralph knelt down by him, for he began to have a deeming of what he\nwas, and he put his face close to the dying man's, and said to him; \"I\nam here, what wouldst thou?\"", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "Scarce was it out of his mouth ere the captains fell away to right and\nleft, and there, standing by himself, was Ralph, holding the ancient", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "Said Ralph: \"It were naught to say less than the truth; and this is\nthe very truth, that thou shalt never see thy Lady any more. I was the\nlast living man that ever saw her alive.\"", "\"So be it,\" said Ralph, \"I have been bewrayed so oft of late, that I\nmust needs trust thee, or all help shall fail me. Let us to work.\" So", "CHAPTER 3\n\nRalph Meeteth With Another Adventure in the Wood Under the Mountain", "\"Look over thy left shoulder,\" she said. He turned, and saw Ralph\ndrawing near, sword in hand, smiling, but somewhat pale. He drew aback", "Then Ralph let a cry out from his mouth, and set off running to the\nside of the slope, and fell to climbing it with great strides, not", "\"Yea verily,\" said Ralph.\n\nSaid the Elder: \"Ralph of Upmeads, wilt thou be our Captain as an\nalien and a hireling, or as a brother?\"", "For a while they looked down silently on to this marvel then from both\ntheir lips at once came the cry THE DRY TREE. Then Ralph thrust his", "and smooth betwixt the trees of the forest. Then Ralph turned about to\ndeal with his fellow, and even through the wrath and fury of the", "that thy gossip will be ill-content with me; for great is the peril.\"\n\"Yea,\" said Ralph, \"and great the reward.\" Clement smiled and sighed,", "\"What!\" said Ralph, \"Dost thou blow hot and cold? why even now, when we\nwere in the wood, thou wert telling me that I had nought at all to fear", "CHAPTER 33\n\nRalph is Brought on the Road Towards Utterbol" ], [ "Now when Ralph heard those last words, such strong and sweet hope and\ndesire stirred in him to see that woman of the Want-ways of the Wood", "Now deems Ralph that as for a trap of the Wood Perilous, he had already\nfallen into the trap; for he scarce needed to be told that these were", "She said: \"The Wood Perilous, that lieth betwixt us and the Burg of\nthe Four Friths, and all about the Burg. And, Sir, if ye be minded to", "Then Ralph saw that it was none other than the damsel of the hostelry\nof Bourton Abbas, and he came up to her and reached out his hand to", "Said Ralph: \"Whence didst thou learn all this, my friend?\" And his\nface grew troubled again; but she said simply: \"She taught it to me who\nspake to me in the wood by Hampton under Scaur.\"", "Ralph pondered what he said, and wondered if this were verily the woman\nwhom he had delivered, or some other. As if answering to his unspoken", "Ralph spake and said: \"Belike it was a woman;\" and his voice sounded\nloud in the quiet place. She smiled on him and kissed his cheek, and", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "Then Ralph lighted down from his horse, and the woman rose up to him,\nher white smock all bloody with the slain man. Nevertheless was she as", "her after thou hadst ridden away. For she came by the want-ways of the\nWood Perilous in the dawn of the day after I had delivered thee; and in", "damsel and he alone, and she with her hands unbound and riding a little\nhorse.\" Of these tidings Ralph deemed it good that all traces of her", "\"I am Ralph of Upmeads,\" quoth he; and sat a while silent, pondering\nhis dream and how it had betrayed him as to her name, when it had told\nhim much that he yet deemed true.", "CHAPTER 8\n\nRalph Cometh to the Wood Perilous. An Adventure Therein", "Ralph hearkened, and called to mind tales of way-farers entrapped by\nwood-wives and evil things; but he thought: \"At least this is no", "But even as Ralph raised his sword and pricked forward, the woman\nsprang as light as a leopard on to the saddle behind the foeman, and", "But Ralph gave forth a great wail of woe, and ran forward and knelt by\nthe Lady, who lay all huddled up face down upon the grass, and he", "So they gathered a heap of wood and made the fire great; and then Ralph\ndid off his helm and hauberk and the damsel did the like, so that he", "Then Ralph cast his arms about her and kissed her again; but she\nwithdrew her from him, and said: \"Help me, my friend, that we may", "Meanwhile she went to Ralph and stood by him, who now began to stir\nagain; and she knelt down by him and kissed his face gently, and rose\nup hastily and stood a little aloof again.", "\"And that Lady of the Dry Tree,\" quoth Ralph, reddening yet more, but\nholding up his head, \"that woman whereof the Burgher spoke so bitterly," ], [ "wood-lawns, and many poor people were destroyed therein: but that was\nbefore the coming of the Lady of Abundance.\"", "Then he spake in a loud voice and said: \"Lament, ye people! for the\nLady of Abundance is dead; yet sure I am that she sendeth this message\nto you, Live in peace, and love ye the works of the earth.\"", "lady,\" said the carline. \"How hight she?\" said Ralph. \"We call her\nthe Lady of Abundance,\" said the old woman. Said Ralph: \"Is she a", "\"But the woman drew a strong sharp knife from her girdle and cut the\nbeast's throat, and dipped her fingers in the blood and reddened both", "out: \"Woe for us! the Lady of Abundance is dead!\" and some of the\nyounger men cast themselves down on to the earth, and wallowed, weeping", "brought them to the Lady, who laughed and said: \"Thou art a good\nseeker and no ill finder.\" Then she gave the wounded man to drink of", "\"Lady,\" said Roger, \"the tale of her is short since the day thou sawest\nher herein. On the day when we first had the evil tidings of the", "turn, father.\" \"Yea,\" said the priest. Said Ralph: \"This lady of the\nland, the Lady of Abundance, is she a very woman?\" \"Holy Saints!\"", "with some knife-stroke unless he made haste; so he thrust his sword\nthrough him, and the man died at once, and fell headlong off his horse,\ndragging down the woman with him.", "\"What then,\" said Ralph (and a grievous fear was born in his heart),\n\"is not the Lady of Abundance young?\" Said the carle: \"I have seen her", "clutch me in her hands, and begin the tormenting of me. But she moved\nno more, and the grass all about her was reddened with her blood; and", "claimed it save the Baron of Sunway, whom thou hast slain. And else\nwould we have slain him, since he slew our Lady.\"", "Now, the Lady had abided in her pavilion when her Lord went abroad;\nanon after she sent all her women away, save one whom she loved, and to", "is plenteous.\" As she spake the Lord looked with knit brows at the\ndamsels behind her, as if he were seeking something; and the Lady", "Quoth Roger: \"This is the tale of it: After the champions of the Dry\nTree had lost their queen and beloved, the Lady of Abundance, they were", "like to that whereon the witch-wife had offered up the goat to her\ndevils as the Lady of Abundance had told him; and he changed", "place of the slaying of the Lady, and he himself had every yard of the\nway in his mind as they went, it seemed but due that they should have", "\"'Great is thy Kingship, Lady,' said the woman, and smiled withal.\nThen she sat silent a little, and said: 'When six months are worn, it", "\"And to thee, young man,\" said the carle, \"I wish a good wish indeed,\nto wit that thou mayest see the Lady of Abundance here before thou\ndepartest.\"", "After a while Ralph spake and said: \"O elder, and ye folk of the\nPeople of Abundance, true it is that your Lady who is dead loved me," ], [ "from me at the first, I shall tell thee this, that if ye go further\nthan the good town ye shall be met and fought withal by men who are", "CHAPTER 7\n\nOf Their Riding the Waste, and of a Battle Thereon", "\"But to-morrow,\" said he, \"I shall give you your last lesson from this\nbook, and thereafter ye shall go your ways to the Rock of the Fighting", "Upmeads. And now thou shalt know that this good town of Whitwall that\nlieth behind us is the last of the lands we shall come to wherein folk", "CHAPTER 29\n\nThey Go Down to Battle in Upmeads", "here to march at once toward us in Upmeads, that our bands might meet\nthere, and scatter all before us. There is our story, lord.\"", "CHAPTER 21\n\nA Battle in the Mountains", "souls of free men. Nothing lothe, the Champions became their doctors\nand teachers of battle, and a great host was drawn together; and\nmeanwhile the Champions had sent messengers again to Hampton telling", "\"As for them of the Burg, the battle and chase over, no more were\nslain, save that certain of the great ones were made shorter by the", "Queen's people, or even mingle with them; so they rode on softly. But\nas the afternoon was drawing toward evening they heard great noise of", "\"Well, within a while the Wheat-wearers were grown so full of hope that\nthey bade the men of the Dry Tree lead them against the Burg of the", "his host against them, and they met some twenty miles to the west in\nthe field of the Wry Bridge, and there was Holy Church overthrown; and", "the host over the hills into Upmeads, and the Burg-devils will have\ncome from the Wood Debateable to find graves by the fair river. And\nthen do thy will, O Friend of the Well.'\"", "of their messenger) ere they came in two battles straight across the\nmeadow. They on their right were all riders, and these faced the\nChampions of the Dry Tree, but a great battle of footmen came against", "its way towards that big river aforesaid, which is called the Swelling\nFlood. Now true it is also that there are many tales about of the wars", "out of the wood on either side, which smote none of them, but many of\nthe foemen. Short was the tale, for in a few minutes there were no men", "\"Hail, all ye folk! I swear by the Bull, and they that made him, that\nin three years' time or less I will have purged all the lands of", "\"Throw open the gates. These riders who have so scared you are naught\nelse than the Champions of the Dry Tree who are coming back to their\nstronghold that they may keep you sure against wicked tyrants who would", "CHAPTER 15\n\nThey Come to the Land of the Innocent Folk", "In two hours time we shall be past all peril of my people, and when we\ncome down below I will slay thee as many as thou wilt, so it be out of" ], [ "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "his friends as he gave Ralph his blessing. And then, when Ralph had\nrisen up and the horses were come, he said to him: \"One thing thou art", "Then Ralph cast his arms about her and kissed her again; but she\nwithdrew her from him, and said: \"Help me, my friend, that we may", "as also did Ralph in his heart; for he thought: \"Here then is one of\nthe Upmeads kin provided for, so that soon he may buy with his money", "Then the elder put on a pair of spectacles and eyed Ralph curiously a\nwhile, and then said: \"There are no two words to be said about it; he\nis a goodly and well-fashioned a young man as was ever sold.\"", "Ralph went up to him hastily, and merrily put his hand on his shoulder,\nand kissed him, saying: \"The kiss of peace in the wilderness to thee!\"\nAnd he found him smooth-faced and sweet-breathed.", "Then Ralph knelt down by him, for he began to have a deeming of what he\nwas, and he put his face close to the dying man's, and said to him; \"I\nam here, what wouldst thou?\"", "be!\" and he sighed heavily again. Then Ralph strove with himself, and\nsaid courteously: \"Sir, I am sorry that I am a burden irksome to thee;", "Said Clement: \"This is good, this let-pass: see thou, Ralph, the seal\nof Utterbol, the Bear upon the Castle Wall. None would dare to", "CHAPTER 22\n\nAn Old Acquaintance Comes From the Down Country to See Ralph", "Now Ralph looks about him, and presently he sees a man come forward to\nmeet him from the innermost of the booth, and lo! there was come", "CHAPTER 27\n\nRalph Holds Converse With Katherine His Gossip", "About noon the chapmen came back again well pleased; and Clement gave\nRalph a parchment from the lord, which bade all men help and let pass", "So the Prior gave him leave, loth though he were, and Ralph kissed his\nfather and mother, and they blessed him. But Ursula said to him", "floor as if she knew not how to contain herself. She turned and saw\nRalph at the door, and she cried aloud and ran towards him with arms", "Ralph, but said nothing, and Ralph heeded not his looks, for his eyes\nwere busy devouring the Lady.", "Ralph. At last he spake to Ursula, and said: \"Grant me a grace, lady,\nand be not wroth if I take thy man into the window yonder that I may", "and turning to Ralph, cast her arms about him, and kissed his face many\ntimes, blushing red as a rose meantime. Then lightly she gat her up", "abide a little, waste-wearers, till we have done a thing or two. Come,\nlove!\" And she reached her hand out behind her to Ralph, not looking", "three. And ever when Ralph thus spoke was a brother of the House\nsitting with the Prior, which brother was a learned and wise man and\nvery speedy and deft with his pen. Wherefore it has been deemed not" ], [ "Yet again came two men a-horseback, merchants clad goodly, with three\ncarles, their servants, riding behind them; and all these had weapons", "presence, black bearded, clad in scarlet; and this was the merchant;\nand by him were two of his knaves and certain weaponed men who had", "Said Ralph: \"Dost thou know at all whither he will have led her?\" Said\nthe merchant: \"By my deeming, he will have gone first of all to the", "merchants, and the rest their lads; and withal they had many sumpter\nhorses and mules with them. They greeted him not, nor he them, nor did", "So when he had done, the merchant, who was a man sober of aspect and\nsomewhat slow of speech, said: \"Sir, I believe surely that I have seen", "The merchant greeted Ralph courteously, and bade him and Clement come\ninto his house, where they might speak more privily. So did they, and", "Much people was gathered about the gate to see the merchants enter with\nbanners displayed; and Ralph deemed many of the folk fair, such as were", "The second day, while the merchants saw to their chaffer, most of the\nmen-at-arms, and Ralph with them, spent their time again in those", "But the King sat bolt upright in his chair and stared Ralph's face; and\nthe warriors and lords and merchants fell back from Ralph and stood in", "as leaders along with Ralph, and Richard, whom they all knew, at least\nby hearsay. Then Roger drew from his pouch a parchment, and read the", "he took for merchants, as they were oftenest standing in and about the\nbooths and shops, whereof there were some in all the streets, though", "building therein, and the markets, whether they throve; and they and\ntwo or three of the townsmen or merchants answered all, and told him", "\"Yea, lord, I will tell thee the tale of them, which setteth forth well\nboth the wise policy and the great mercy of the folk of the Burg and\ntheir rulers.\"", "came to the hostel of the Merchants, called the Fleece, which was a big\nhouse, and goodly enough.", "So came they to the chief quarters of the fighting men, and Ralph had\nall the leaders called to him, and he spake to them of how they should", "So the chapmen lodged in the market-place; and in two days time Ralph\ngot speech of the Deacon of the Chapmen of the Town; who told him two", "him up to the merchant, to whom he gave the sele of the day, and said:\n\"Master, this is the young knight of whom I told thee, who deemeth that", "bade them, but courteously, to come with them to see their Lord. The\nSage drew forth his let-pass thereat; but the leader of the riders", "\"O messenger of the robbers! I am the captain of this folk. I see\nthat the voice hath died away within the jaws of you; but it matters", "\"Yea,\" said Roger slowly, \"that is sooth; and so is this, that there in\nthe Burg they are a strong band, with a captain of their own, and much" ], [ "and the little hills of Upmeads, for that was the name of their country\nand the kingdom of King Peter.", "himself--and so may it be. Therefore I do you all to wit that this\nman is the King of Upmeads, and this woman is his Lady and Queen; and", "Peter of Upmeads!\" And the old man stopped and said unto him: \"Yea,\nforsooth, my name is Peter, and my business is to be a king, or a", "Kingdom of Upmeads, though the neighbours on that side were peaceable\nand friendly, and were wont to send gifts to King Peter. But toward", "Furthermore, it is told of Ralph of Upmeads that he ruled over his\nlands in right and might, and suffered no oppression within them, and", "Upmeads. And now thou shalt know that this good town of Whitwall that\nlieth behind us is the last of the lands we shall come to wherein folk", "land of Upmeads. Speedily they went, though in good order, and it was\nbut a little after sunrise when they were wending toward the brow of", "again to my house, there to abide with me the chances and changes of\nlife; and it is most like that this one shall sit in my chair when I am\ngone, and be called King of Upmeads.", "CHAPTER 29\n\nThey Go Down to Battle in Upmeads", "So Ralph spake to the porter and bade him show him where was King Peter\nof Upmeads and his Lady wife; and the porter made him obeisance and", "Upmeads.\" And without more words he went up to Ursula and took her hand\nand went out of the hall, and down the rock-cut stair, and all they", "son, that he shall seek to thee at Upmeads ere he die.\" Said Ralph:\n\"His coming shall be a joy to us, how pleasant soever our life may be", "do to give them pastime of words; so they came into the plain field of\nUpmeads two hours before sunset; and King Peter said: \"Now I account it", "Upmeads, and from Upmeads, when they were waxen strong, they would fall\nupon Higham by the Way, and thence with yet more strength on their old", "the host over the hills into Upmeads, and the Burg-devils will have\ncome from the Wood Debateable to find graves by the fair river. And\nthen do thy will, O Friend of the Well.'\"", "at Wulstead and Upmeads, and thou no less famous than now thou art.\nThis is my last word to thee.\" Therewith they parted, and Ralph rode\nhis ways.", "Upmeads, smitten by the Shepherds and leaping into the deep pools of\nthe river, they turned and fled, every man who could keep his saddle,", "were changing, great might undone, and weakness grown to strength. Who\ncan say but our lord may find deeds to hand or ever he come to Upmeads?\"", "But therewith came a weak and hoarse voice from the earth, and the\nwild-man spake. \"Child of Upmeads, drive not on so hard: it will not", "\"I am Ralph of Upmeads,\" quoth he; and sat a while silent, pondering\nhis dream and how it had betrayed him as to her name, when it had told\nhim much that he yet deemed true." ], [ "He had four sons whose names were Blaise, Hugh, Gregory and Ralph: of\nthese Ralph was the youngest, whereas he was but of twenty winters and\none; and Blaise was the oldest and had seen thirty winters.", "Peter and his sons rode therein at their peril: but great plenty was\ntherein of all wild deer, as hart, and buck, and roe, and swine, and", "Peter that his son was come back victorious already; so that by then he\nhad dismounted at the Guest-house door, lo! there was the King and his", "Peter of Upmeads!\" And the old man stopped and said unto him: \"Yea,\nforsooth, my name is Peter, and my business is to be a king, or a", "High House of Upmeads, and sent for his four sons to come to him. And\nthey came and stood before his high-seat and he said:", "King Peter's sons found themselves straitened in their little land:\nwherein was no great merchant city; no mighty castle, or noble abbey of", "wife with him, and both they alboun for departure. And when they saw\nhim King Peter cried out: \"There is no need to say a word, my son;", "But King Peter said: \"Son, thou hast not told me what thou are become;\nand true it is that thou hast the look of a great one.\"", "ye, and what be ye?\" Came a loud voice from out of the wood on the\nright hand: \"Children, tell the warrior whose sons ye be!\" Straightway", "none who were not friends to King Peter and his sons: and that was\nwell, for now were folk stirring and were abroad in the fields; as a", "are the sons of this man and woman whom ye see; for the man is my son.\nAnd so it is, that amongst us the care of the Quest of the Well at the", "men, and to strive for life. For though they were king's sons, they\nhad but little world's wealth; save and except good meat and drink, and", "bade Ursula sit by his mother, and made him ready to sit by his father\nin all love and duty. But King Peter stayed him and said: \"Nay, dear", "Then Ralph knelt before them, and King Peter and his wife blessed their\nson when they had kissed and embraced each other, and they wept for joy", "King Peter's, that I should stay thee. As for the name of the next\ntown, it is called Higham-on-the-Way, and is a big town plenteous of", "\"Hearken,\" said King Peter softly to the Dame, \"how he reckons it all\nhis own; my day is done, my dear.\" He spake smiling, and she said:", "feast and joy; and King Peter might not refrain him, but told the Prior\nhow this was his son come back from far lands, with the goodly Lady he", "slain by those wretches, and a second son that I bore had died of a\npestilence that war and famine had brought upon the land. I will not", "was gone, and King Peter said: \"There again! thou seest, wife, it is\nhe that commands and we that obey.\"", "though his sons, the three eldest of them, had both ridden therein and\nran therefrom valiantly. As for Ralph the youngest, his father would\nnot have him ride the Wood Debateable as yet." ], [ "Then Ralph let a cry out from his mouth, and set off running to the\nside of the slope, and fell to climbing it with great strides, not", "CHAPTER 3\n\nRalph Meeteth With Another Adventure in the Wood Under the Mountain", "into the water. And Ralph saw in the face of the high cliff the mouth\nof a cave, however deep it might be.", "CHAPTER 33\n\nRalph is Brought on the Road Towards Utterbol", "CHAPTER 2\n\nRalph Rides the Wood Under the Mountains", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "So rode Ralph till the sun was at point to rise, and he was about the\nmidst of one of those clearings or wood-lawns, on the further side", "But as it drew towards evening on the seventh day Ralph had ridden a\nlittle ahead with Bull alone, if he might perchance have a sight of the", "But when it was morning Ralph awoke, and saw that the sun was shining\nbrightly; so he cast his shirt on him, and went out at once, and turned", "As for Ralph, he rode on with a merry heart, and presently came to an\nend of the plain country, and the great downs rose up before him with a", "both great and small, and the wild things seemed to fear them but\nlittle. To Ralph it seemed an exceeding fair land, and he was as", "Ralph, but said nothing, and Ralph heeded not his looks, for his eyes\nwere busy devouring the Lady.", "The three hazy days past, it fell to rain for four days, so that Ralph\ncould see little of the face of the land; but he noted that they went", "CHAPTER 8\n\nRalph Cometh to the Wood Perilous. An Adventure Therein", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "When Ralph woke on the morrow it was broad day as far as the trees\nwould have it so. He rose at once, and looked about for his fellow,", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "CHAPTER 3\n\nRalph Cometh to the Cheaping-Town", "there. But Ralph, though he looked over his shoulder at it all, yet\nrode on steadily, and when he saw that the others lingered, he waved", "countenance, and for a while stinted his speech, but not for long;\nwhile Ralph looked about him, inwardly striving to gather together the\nends of unhappy thoughts that floated about him, and to note the land" ], [ "Now when Ralph heard those last words, such strong and sweet hope and\ndesire stirred in him to see that woman of the Want-ways of the Wood", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "Now deems Ralph that as for a trap of the Wood Perilous, he had already\nfallen into the trap; for he scarce needed to be told that these were", "She said: \"The Wood Perilous, that lieth betwixt us and the Burg of\nthe Four Friths, and all about the Burg. And, Sir, if ye be minded to", "Then Ralph lighted down from his horse, and the woman rose up to him,\nher white smock all bloody with the slain man. Nevertheless was she as", "Said Ralph: \"Whence didst thou learn all this, my friend?\" And his\nface grew troubled again; but she said simply: \"She taught it to me who\nspake to me in the wood by Hampton under Scaur.\"", "CHAPTER 8\n\nRalph Cometh to the Wood Perilous. An Adventure Therein", "Ralph hearkened, and called to mind tales of way-farers entrapped by\nwood-wives and evil things; but he thought: \"At least this is no", "Ralph spake and said: \"Belike it was a woman;\" and his voice sounded\nloud in the quiet place. She smiled on him and kissed his cheek, and", "woman whom he had holpen at the want-ways of the wood, and but four\ndays ago was that, yet it seemed long and long to him. The book told", "her after thou hadst ridden away. For she came by the want-ways of the\nWood Perilous in the dawn of the day after I had delivered thee; and in", "Then Ralph saw that it was none other than the damsel of the hostelry\nof Bourton Abbas, and he came up to her and reached out his hand to", "But Ralph gave forth a great wail of woe, and ran forward and knelt by\nthe Lady, who lay all huddled up face down upon the grass, and he", "Now Ralph cried out from his saddle in a loud voice, and said: \"Ho ye\nof the arrows of the wood! ye have saved me from my foemen; where be", "Meanwhile she went to Ralph and stood by him, who now began to stir\nagain; and she knelt down by him and kissed his face gently, and rose\nup hastily and stood a little aloof again.", "But even as Ralph raised his sword and pricked forward, the woman\nsprang as light as a leopard on to the saddle behind the foeman, and", "Now Ralph sat up and looked about him, and when he saw the Lady he\nfirst blushed red, and then turned very pale; for the full life was in", "Therewith he departed, and left Ralph with the host, whom Ralph\nquestioned of the story, for his heart was wrung lest such a fair woman\nand so friendly should have come to harm.", "damsel and he alone, and she with her hands unbound and riding a little\nhorse.\" Of these tidings Ralph deemed it good that all traces of her", "Ralph pondered what he said, and wondered if this were verily the woman\nwhom he had delivered, or some other. As if answering to his unspoken" ], [ "Now deems Ralph that as for a trap of the Wood Perilous, he had already\nfallen into the trap; for he scarce needed to be told that these were", "CHAPTER 8\n\nRalph Cometh to the Wood Perilous. An Adventure Therein", "Ralph, he smote a tall man full on the breast and pierced him through\nand through, and then pulled out the Upmeads blade and smote on the", "Ralph and King Peter walked slowly home together, and as they went King\nPeter fell to telling of how in his young days he rode in the Wood", "But Ralph leapt up, and half drew his sword, and cried out loud: \"Would\nGod I had slain him! Wherefore could I not slay him?\" And he strode up", "A long way now rode Ralph, and naught befell him but the fashion of the\nwood. And as he rode, the heart within him was lightened that he had", "Then another man was gotten to run against Ralph, and it went the\nsame-like way: for Ralph smote him amidst of the shield, and the spear\nheld, so that he fell floundering off his horse.", "15 How Ralph Departed From the Burg of the Four Friths\n 16 Ralph Rideth the Wood Perilous Again\n 17 Ralph Cometh to the House of Abundance", "Ralph would not suffer his men to follow the chase, for he wotted not\nwith whom he might have to deal besides the King's men. He drew his", "Now Ralph cried out from his saddle in a loud voice, and said: \"Ho ye\nof the arrows of the wood! ye have saved me from my foemen; where be", "Ralph played manfully, and was hurt by a spear above the knee, but not\ngrievously; so he heeded it not, but cleared a space all about him with", "CHAPTER 16\n\nRalph Rideth the Wood Perilous Again", "though his sons, the three eldest of them, had both ridden therein and\nran therefrom valiantly. As for Ralph the youngest, his father would\nnot have him ride the Wood Debateable as yet.", "Therewith was Ralph beside them, and though he were loth to slay a man\nheld in the arms of a woman, yet he feared lest the man should slay her", "10 A Meeting and a Parting in the Wood Perilous\n 11 Now Must Ralph Ride For It\n 12 Ralph Entereth Into the Burg of the Four Friths", "Now on the second day of their riding this ugly waste, as they came up\nover the brow of one of these stony ridges, Ralph the far-sighted cried\nout suddenly: \"Hold! for I see a man weaponed.\"", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "Said Ralph: \"When we parted at the want-ways of the Wood Perilous thou\nsaidst that thou wert minded for the Well at the World's End, and to", "Wood Perilous, and he has not come back, though we looked to see him in\nthree days' wearing: but his horse has come back, and the reins and\nthe saddle all bloody.\"", "Now when Ralph heard those last words, such strong and sweet hope and\ndesire stirred in him to see that woman of the Want-ways of the Wood" ], [ "wood-lawns, and many poor people were destroyed therein: but that was\nbefore the coming of the Lady of Abundance.\"", "Then he spake in a loud voice and said: \"Lament, ye people! for the\nLady of Abundance is dead; yet sure I am that she sendeth this message\nto you, Live in peace, and love ye the works of the earth.\"", "lady,\" said the carline. \"How hight she?\" said Ralph. \"We call her\nthe Lady of Abundance,\" said the old woman. Said Ralph: \"Is she a", "out: \"Woe for us! the Lady of Abundance is dead!\" and some of the\nyounger men cast themselves down on to the earth, and wallowed, weeping", "\"What then,\" said Ralph (and a grievous fear was born in his heart),\n\"is not the Lady of Abundance young?\" Said the carle: \"I have seen her", "\"Lady,\" said Roger, \"the tale of her is short since the day thou sawest\nher herein. On the day when we first had the evil tidings of the", "turn, father.\" \"Yea,\" said the priest. Said Ralph: \"This lady of the\nland, the Lady of Abundance, is she a very woman?\" \"Holy Saints!\"", "Quoth Roger: \"This is the tale of it: After the champions of the Dry\nTree had lost their queen and beloved, the Lady of Abundance, they were", "\"But the woman drew a strong sharp knife from her girdle and cut the\nbeast's throat, and dipped her fingers in the blood and reddened both", "After a while Ralph spake and said: \"O elder, and ye folk of the\nPeople of Abundance, true it is that your Lady who is dead loved me,", "brought them to the Lady, who laughed and said: \"Thou art a good\nseeker and no ill finder.\" Then she gave the wounded man to drink of", "claimed it save the Baron of Sunway, whom thou hast slain. And else\nwould we have slain him, since he slew our Lady.\"", "\"And to thee, young man,\" said the carle, \"I wish a good wish indeed,\nto wit that thou mayest see the Lady of Abundance here before thou\ndepartest.\"", "Said Ralph: \"It were naught to say less than the truth; and this is\nthe very truth, that thou shalt never see thy Lady any more. I was the\nlast living man that ever saw her alive.\"", "Lady of the Wildwood led along to death before he delivered her, and\ntheir flight together from the Water of the Oak, and that murder of her", "clutch me in her hands, and begin the tormenting of me. But she moved\nno more, and the grass all about her was reddened with her blood; and", "\"Look you, father,\" said Ralph, \"May it not have been more than one\nLady of Abundance that thou hast seen in thy life-days; and that this", "place of the slaying of the Lady, and he himself had every yard of the\nway in his mind as they went, it seemed but due that they should have", "with some knife-stroke unless he made haste; so he thrust his sword\nthrough him, and the man died at once, and fell headlong off his horse,\ndragging down the woman with him.", "Now, the Lady had abided in her pavilion when her Lord went abroad;\nanon after she sent all her women away, save one whom she loved, and to" ], [ "When they were gotten a mile or two from Whitwall, and all was going\nsmoothly, Clement came up to Ralph and rode at his left hand, and fell", "lowly. At last, of an afternoon, they saw before them afar off the\ntowers and pinnacles of Whitwall, and Ralph's heart rose within him, so", "CHAPTER 12\n\nRalph Falleth in With Friends and Rideth to Whitwall", "CHAPTER 18\n\nRalph Departeth From Whitwall With the Fellowship of Clement Chapman", "Ralph turned his head as one awaking from a dream, and he said: \"When\nshall to-morrow be, that we may get us gone from Whitwall, we three,\nand turn our faces toward Upmeads?\"", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "Now Ralph looks about him, and presently he sees a man come forward to\nmeet him from the innermost of the booth, and lo! there was come", "CHAPTER 20\n\nRalph Meeteth a Man in the Wood", "Upmeads. And now thou shalt know that this good town of Whitwall that\nlieth behind us is the last of the lands we shall come to wherein folk", "CHAPTER 3\n\nRalph Meeteth With Another Adventure in the Wood Under the Mountain", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "abiding at Whitwall, in the morning when all the chapmen were gone\nabout their business, and he and Ralph were left alone in the Hall, he", "Then Ralph knew him, that he was the tall champion whom he had met\nfirst at the churchyard gate of Netherton; so he said: \"I know thee", "meet them, and stood round wondering at them; but an old carle came\nfrom out the throng and went up to Ralph, and hailed him, and said:", "So they did after his bidding, and by then they had come back to Ralph\nthose three men were at the foot of the hill, which was but low. Then", "Then Ralph knelt down by him, for he began to have a deeming of what he\nwas, and he put his face close to the dying man's, and said to him; \"I\nam here, what wouldst thou?\"", "Then Ralph saw that it was none other than the damsel of the hostelry\nof Bourton Abbas, and he came up to her and reached out his hand to", "CHAPTER 3\n\nRalph Cometh to the Cheaping-Town", "Nought more befell Ralph to tell of till he came to the end of the\nDowns and saw Higham lying below him overlooked by a white castle on a", "But as Ralph was gathering his words together, and Ursula was looking\nup to him with trouble in her face again, came a man of the thorp" ], [ "Ralph, but said nothing, and Ralph heeded not his looks, for his eyes\nwere busy devouring the Lady.", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "Then Ralph knelt down by him, for he began to have a deeming of what he\nwas, and he put his face close to the dying man's, and said to him; \"I\nam here, what wouldst thou?\"", "CHAPTER 15\n\nRalph Dreams a Dream Or Sees a Vision", "Then Ralph let a cry out from his mouth, and set off running to the\nside of the slope, and fell to climbing it with great strides, not", "She looked on Ralph and said: \"I lost, and then I found, and then I\nlost again. Maybe I shall find the lost once more. And for the rest,", "But Ralph left alone was sorely moved with hope and fear, and a longing\nthat grew in him to see the damsel. For though he was firmly set on", "Then Ralph forgot his fear, and his heart grew greedy and his eyes\nglistened, and he said, yet he spoke faintly: \"Yea, is she fair?\"", "\"Father,\" said Ralph, \"we have come a long way on an errand of life or\ndeath; for we seek the WELL at the WORLD'S END. And see ye the token", "CHAPTER 33\n\nRalph is Brought on the Road Towards Utterbol", "CHAPTER 3\n\nRalph Meeteth With Another Adventure in the Wood Under the Mountain", "wailing, and Ralph running about like one mad, and crying out now: \"Oh!\nthat I might find her! Mayhappen she is alive yet, and anigh here in", "CHAPTER 11\n\nRalph Cometh Out of the Wilderness", "CHAPTER 11\n\nNow Must Ralph Ride For It", "Ralph started as she said the word, but held his peace awhile. Then he\nsaid: \"And who is lord of this fair land?\" \"There is no lord, but a", "Thus they gave and took in talk, and Ralph did what he might to seem\nlike other folk, that he might nurse his grief in his own heart as far\nasunder from other men as might be.", "But when it was morning Ralph awoke, and saw that the sun was shining\nbrightly; so he cast his shirt on him, and went out at once, and turned", "Ralph, of thee I looked for something; but now I cannot tell; for the\nheart in thee seemeth to be dead; and thou must look to it lest the", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "there. But Ralph, though he looked over his shoulder at it all, yet\nrode on steadily, and when he saw that the others lingered, he waved" ], [ "Then Ralph turned to Ursula and raised her up and kissed her, and they\nwent down all of them from that place of death and ill-hap, and gat to", "Ralph heeded him no more, but drew Ursula away from him, and raised her\nup and laid her head upon his knee; and she had not quite swooned away,", "him, and feared the horses of those twain more than their riders. And\nnow as Ursula knelt to embrace Ralph with one hand, she held out the", "Ralph found some shelter in the cleft of a rock above a mound where was\nlittle grass for the horses. He drew Ursula into it, and they sat down", "On a day thereafter when it was nigh evening, Ralph looked about, and\nsaw a certain wood on the edge of a plain, and he stayed Ursula, and", "Now Ralph holds his peace, and they speed on their way, Ursula riding\nclose by Ralph's side, and caressing him with looks, and by touch also", "Ralph thought for a moment, and deemed it best to say as little as he\nmight concerning Ursula; so he answered, and his voice grew loud and", "Now Ralph sat up and saw Ursula still sleeping; then he rose to his\nfeet and looked about him, and saw their two horses cropping the grass", "Meanwhile Ursula knelt at the mouth of the cave and wept; but Ralph\nturned him about and stood on the edge of the bank, and looked over the", "her. Now they two were riding on somewhat ahead of the others, so\nRalph turned to Ursula, and asked what ailed her. She smiled on him", "So they sat down again, and Ralph arose and took Ursula by the hand,\nand stood with her before the elder, and said: \"This maiden, who is my", "praised his wisdom. But while the old man mended the fire Ralph went\nup to Ursula and took her hand, and said: \"Welcome to life,", "So Ralph and Ursula went forth, and came within a stone's cast of the\nbarrier, when Ralph lifted up his voice and said: \"Is there a captain", "Ralph drew rein, and turned thither whence the cry came, and Ursula saw\na man wide-shouldered, grey-haired, blue-eyed, and ruddy of", "But as Ralph was gathering his words together, and Ursula was looking\nup to him with trouble in her face again, came a man of the thorp", "shall be none above thee.\" And therewith he set Ralph down in the\nthrone, and Ralph, turning to his left hand, saw that it was Ursula,", "\"Better than well is thy story then,\" said Ralph. \"Now let them bring\nme a horse.\" So when he was horsed, he kissed Ursula and went his", "Ralph. At last he spake to Ursula, and said: \"Grant me a grace, lady,\nand be not wroth if I take thy man into the window yonder that I may", "Thus then they went their ways; but Ralph noted of Ursula that she was\nsilent and shy with him, and it irked him so much, that at last he said", "the Sage of Swevenham and Ursula. And she was grown pale now and\nlooked somewhat scared, and she spake in a trembling voice to Ralph," ], [ "CHAPTER 30\n\nRalph Brings His Father and Mother to Upmeads", "\"All we of Upmeads wot of it,\" said Ralph. \"Well,\" said the Captain,\n\"amongst these said Burgers, who were dwelling in the wildwood in", "Then Ralph drew her unto him; and the old man blessed them and prayed\nfor goodly offspring for them, that the House of Upmeads might long\nendure.", "29 They Go Down to Battle in Upmeads\n 30 Ralph Brings His Father and Mother to Upmeads\n 31 Ralph Brings Ursula Home to the High House", "Then came the hum of yeasay again, the clashing of weapons, and the old\nman spake again: \"Ralph of Upmeads, there thou standest, wilt thou", "Then spake Ralph: \"Yet how wilt thou say but that the foemen whom we\ngo to meet in Upmeads may be some of those very Burgers: hast thou", "Ralph drave on sword in hand, crying out, \"Home, home to Upmeads!\" and\nanon was amidst of the foe smiting on either hand. His men followed,", "\"Yea verily,\" said Ralph.\n\nSaid the Elder: \"Ralph of Upmeads, wilt thou be our Captain as an\nalien and a hireling, or as a brother?\"", "Then Ralph looked along the ridge to right and left of him, and saw\nthat all the host had come up and had a sight of the foemen; on the", "Then Ralph turned to Ursula and raised her up and kissed her, and they\nwent down all of them from that place of death and ill-hap, and gat to", "Quoth Ralph: \"We be peaceful wayfarers save to them that would fall on\nus, and we seek toward Upmeads.\" \"Yea?\" said the man, \"belike ye shall", "Ralph, stood staring up into his face with the tears starting into his\neyes. Ralph looked a moment, and then reached down his arms to embrace", "meet in Upmeads: soothly, my lord, they had as well have ridden into\nred Hell as into our green fields.\" \"Fear not, Richard,\" said Ralph,\n\"we shall have enough.\"", "Ralph nodded yeasay and began to move toward the porch, the Dame of\nUpmeads sticking close to him all the time, and King Peter following", "CHAPTER 29\n\nThey Go Down to Battle in Upmeads", "said the man. Said Ralph: \"Are thy folk already in Upmeads?\" \"Nay,\"\nsaid the captive, \"but by this time they will be on the road thither.\"", "So streamed in these weaponed men till Ralph saw that it was a great\nhost that was entering the Burg; and his heart rose within him, so", "Now Ralph reddened, and he took Clement by the shoulder, and said:\n\"Tell me, Clement, are they yet in Upmeads?\" \"Sooth to say,\" said", "So they did after his bidding, and by then they had come back to Ralph\nthose three men were at the foot of the hill, which was but low. Then", "Ralph thanked the Captain for this, and did him to wit that he would\ntake the gift if he came back out the Upmeads fray alive: said he," ] ]

[ "How does Ralph kill the knight who killed The Lady of Abundance? ", "What is the name of the person who buys Ursula? ", "What is the theme of this story? ", "What do Ralph and Ursula both desire? ", "Who is the main protagonist? ", "Who is the antagonist when Ralph and Ursula are traveling to the well? ", "At the end of the story, how many men does Ralph lead into battle? ", "How many brothers does Ralph have? ", "Who are the four sons of King Peter?", "Which of his brothers does Ralph meet in Whitwall?", "Ralph's quest is to reach the...?", "After which even does Ursula fall in love with Ralph?", "Who betrays Ralph?", "What is the secret identity of the woman Ralph rescues in the Wood Perilous?", "What weapon kills the Lady of Abundance?", "The final battle of the story is against people from where?", "Who writes a letter of recommendation for Ralph?", "Who is the leader of the merchants?", "Who is the King of the Upmeads?", "What are the names of Peter's sons?", "Where do Ralph's explorations begin?", "Who is the woman Ralph saved in the Wood Perilous?", "Why did Ralph kill two men in the Wood Perilous?", "Who kills Lady Abundance?", "Who does Ralph meet near the village of Whitwall?", "What is Ralph in search of?", "What type of animal does Ralph save Ursula from?", "What group joins Ralph to fight the enemy and retake Upmeads?" ]

[ [ "He kills the knight with an arrow to the heart. ", "An arrow to the head" ], [ "Lord Utterbol. ", "the Lord of Utterbol" ], [ "Good always conquers evil", "Adventure." ], [ "To reach the well at world's end.", "They want to reach the Well at the World's End." ], [ "Ralph is the main protagonist. ", "Gandolf. " ], [ "The bear that tries to kill Ursula.", "A bear. " ], [ "In excess of 1,000 men. ", "more than a 1000" ], [ "Ralph has three brother. ", "3." ], [ "Hugh, Blaise, Gregory, and Ralph.", "The sons are Ralph, Blaise, Hugh, and Gregory." ], [ "Blaise", "Blaise. " ], [ "Well at the World's End", "Well at the world's end" ], [ "After Ralph saves Ursula from the bear attack.", "A bear attack." ], [ "Morfinn the Minstrel", "Morfinn. " ], [ "She is the Lady of Abundance", "The Lady of Abundance" ], [ "A sword", "a sword" ], [ "Burg of the Four Friths", "the Burg of the Four Friths" ], [ "The Queen of Goldburg", "queen of goldburg" ], [ "Clement", "clement" ], [ "Peter", "Peter." ], [ "Blaise, Hugh, Gregory and Ralph", "blaise, hugh ,gregory, ralph" ], [ "Bourton Abbas", "Bourton Abbas." ], [ "Lady Abundance", "The Lady of Abundance" ], [ "They had entrapped Lady Abundance", "They entrapped a woman" ], [ "Her lover the Knight", "a knight" ], [ "His brother Blaise and Blaise's assistant Richard.", "His brother Blaise, and Richard" ], [ "The well at the world's end", "Well at the world's end" ], [ "A bear.", "A bear." ], [ "Champions of the Dry Tree", "Champions of the Dry Tree" ] ]

[ [ "Then Philip Marsham took the fate of the Rose of Devon in his hands and\nleaned out over the quarter-deck gun. \"Holla, there!\" he called, but", "So to save themselves from a more cruel fate there was scarcely one of\nthem but leaped at the chance to join the Rose of Devon's crew. They", "\"I have not until now set foot on this deck,\" Phil replied. \"But\nhaving seen many vessels in my time, I venture that the Rose of Devon", "of the Rose of Devon, Phil had it in mind to jump and seize him from\nbehind, for so far as he could appraise the man's figure, the two were", "She lay close hauled by the wind and as the Rose of Devon, scudding\nbefore the sea, bore down the wind and upon her, she hove out signs to", "company of the Rose of Devon eight men and the mate, and one man of the\neight was at the helm. These the Old One counted as he took a turn on\nthe quarter-deck.", "\"Why, that,\" he said, \"beës the frigate they call Rose of Devon.\"\n\n\"The Rose of Devon--nay, she cannot be the Rose of Devon!\"", "Now the Rose of Devon was a week from England when a footrope parted\nand the boatswain pitched down, clutching at the great belly of the", "For an hour or two the old Rose of Devon went plunging through the\nseas; and there was much loosing and lowering of sails. For a while,", "One watching from the mountain would have seen the Rose of Devon spread\nher sails and put to sea like a great bird with white wings. But there", "Captain Winterton smiled. He was the first of the three men who had\ncome on board the Rose of Devon by way of her gallery, and had entered\nthe great cabin the night when Phil Marsham sat there at supper.", "There were guns on the right hand and the left--ordnance of a size to\nsink the Rose of Devon with a broadside. There were sailormen thronging", "On all the vessels in the harbour, and all along the quay and the\nstreets, men had stopped their work to see the Rose of Devon sail. But", "There were a few splotches of blood on the deck and three men of the\nRose of Devon's crew lay huddled in a heap; there were left standing", "The seas had somewhat abated and the Rose of Devon was standing on her\ncourse under reefed mainsail when the cry sounded.", "accompanying her, in the hands of a prize crew, the Rose of Devon\nfrigate. There, bundling certain unhappy gentlemen of fortune out of", "And as the Rose of Devon rolled along in the bright sun, alone in a\nblue sea, the body of Francis Candle lay forgotten in the steerage\nroom.", "It was a great bed in a small room under the thatch; and as they lay\nthere on the good goose-feathers in the dark, Martin said, \"We'll sail\nin this Rose of Devon, lad.\"", "who contrived the plan for killing Captain Candle and taking the Rose\nof Devon. Yea, they called me apart on the forecastle and tempted me to\nsin and forced me with many threats. He it was--\"", "For the Rose of Devon was heavily pitching and the seas crashed on her\nthree-inch planks with a noise like thunderclaps; and when she lifted" ], [ "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "So to save themselves from a more cruel fate there was scarcely one of\nthem but leaped at the chance to join the Rose of Devon's crew. They", "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "There was a great whispering among the people, who thought it was a\nshame for so likely a lad to hang with a pack of pirates. But it was", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "\"I am thy man!\" the fellow cried. The stains on the deck had made him\nsurpassingly eager, and his one eye winked and his beard wagged, so\neager was he to declare his allegiance.", "And now three men who had been sitting by the mainmast rose. They were\nlooking toward Phil and the carpenter, and one of them slowly walked\nthither.", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "whence he had come. There, having donned his clothes, he would call for\nhelp. Surely there was no one so hard of heart as to refuse a lad help\nin escaping from the pirates.", "Drake being in those seas and ran away to join him. Yet again they\ncaught him--caught this Miles Philips and clapped him into prison with", "to join the pirates, he had adventured with the Algerians before he led\nthe gentlemen of Bideford. And at last, hazarding a final effort to", "It was Will Canty, the youth who had already won the young boatswain's\nliking, spoke thus. He was a comerado more to Phil's taste than was", "Phil raised his head and renewed his hold, for he could not cling there\nforever; yet how to introduce himself on board the ship was a question", "When Phil turned away, old Jacob cleared his throat.\n\n\"Boatswain--\"\n\n\"Yea?\"\n\n\"Do not hurry.\"", "Phil rose.\n\n\"Go then, Master Boatswain. But stay! You and your comerado make a\nstrange pair. How came you bedfellows?\"", "And what could a man do but slide with the others down into the\nboat and rest on the loom of an oar? Phil shared a thwart with the\ncarpenter, and raised his oar and held it upright between his knees.", "Surely a lad of enterprise, who had ventured the world over with\npirates, could find in any English village something to which he could", "in the same ship, by curious chance, in which\n he had long before adventured\n with the pirates.", "an English lad, Philip Marsham, a member of the original crew of the\n_Rose_, is acquitted; and he, after adventures in the forces of King" ], [ "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "Drake being in those seas and ran away to join him. Yet again they\ncaught him--caught this Miles Philips and clapped him into prison with", "locked to a longer chain, crawled over to where Phil lay and very\ncraftily tried to kill him with bare hands. The guard cried out, but", "Phil raised his head and renewed his hold, for he could not cling there\nforever; yet how to introduce himself on board the ship was a question", "struggle up to the black night above. But as Phil saved himself he saw\nMartin cowering by a gun and striving to reach the breeching; and as", "whence he had come. There, having donned his clothes, he would call for\nhelp. Surely there was no one so hard of heart as to refuse a lad help\nin escaping from the pirates.", "Thereupon a second pair of hands closed on Philip Marsham's other\nankle, and, would he or would he not, he was hauled speedily through\nthe cabin window.", "and bent forward, lifting Phil from the ground bodily; then he flung\nhimself upon his back and might have killed the lad by the fall, had\nPhil not barely wriggled from under him.", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "At the sound of steps, Phil drew back and hung over the water on the\ngreat stern of the ship.", "second time and turned very hastily round. Straightway seizing Phil by\nthe arm he whispered hoarsely, \"Come now, we must hie us away again,\nand that speedily.\"", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "in the same ship, by curious chance, in which\n he had long before adventured\n with the pirates.", "vast bloodshed and plunder, and thus they stormed about the deck at\nintervals until an hour after sunrise, when Phil from the forecastle\nand Old Jacob from his corner under the quarter-deck, having observed", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "For on the yardarm Phil had drawn dirk and cut at the snarl of ropes,\nwhere a chance ball had wrought much mischief. Then, as the two vessels", "A rumble of laughter issued, then the Old One's voice, \"Lay him here\nin the steerage and shackle him fast to the mizzen. He may well be\nthankful that I am a merciful man.\"", "fellow's middle sorely distressed him. As they swayed back and forth\nthe keeper suddenly seized Phil's head over his own shoulder and rose", "And now three men who had been sitting by the mainmast rose. They were\nlooking toward Phil and the carpenter, and one of them slowly walked\nthither.", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all" ], [ "whence he had come. There, having donned his clothes, he would call for\nhelp. Surely there was no one so hard of heart as to refuse a lad help\nin escaping from the pirates.", "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "struggle up to the black night above. But as Phil saved himself he saw\nMartin cowering by a gun and striving to reach the breeching; and as", "second time and turned very hastily round. Straightway seizing Phil by\nthe arm he whispered hoarsely, \"Come now, we must hie us away again,\nand that speedily.\"", "There was a great whispering among the people, who thought it was a\nshame for so likely a lad to hang with a pack of pirates. But it was", "The other gave a grunt of disgust.\n\n\"Nay, it is a wonder to me that a lad with your nice notions ever found\nhis way to sea,\" Phil retorted.", "When Phil turned away, old Jacob cleared his throat.\n\n\"Boatswain--\"\n\n\"Yea?\"\n\n\"Do not hurry.\"", "Phil was of a mind to call after them, to pursue them, to flee with\nthem; but as it is easy to understand, there were strong reasons", "gulled, and that to reveal the truth would fix upon him the lasting\nridicule of his shipmates. He swelled in fury and gave them angry", "Scarcely conscious of his own thought, Phil glanced toward the dark and\ndistant shore; but, slight though his motion, the carpenter's one eye\nsaw it and his none too nimble wit understood it.", "Phil rose.\n\n\"Go then, Master Boatswain. But stay! You and your comerado make a\nstrange pair. How came you bedfellows?\"", "Drake being in those seas and ran away to join him. Yet again they\ncaught him--caught this Miles Philips and clapped him into prison with", "And now three men who had been sitting by the mainmast rose. They were\nlooking toward Phil and the carpenter, and one of them slowly walked\nthither.", "locked to a longer chain, crawled over to where Phil lay and very\ncraftily tried to kill him with bare hands. The guard cried out, but" ], [ "\"Of these fourteen prisoners at the bar of justice, my lord, we find\none and all guilty of the felonies and piracies that are charged", "I!--to see a pirate hanged, I am most loath to swear away the life of\nan innocent man. There is no man here of whom I can truly say I have\nseen him before.\"", "advocates with a band of pirates under the thumb are, for the honour of\nthe law, set upon making an example of them.", "\"Come now, look about you at these men who are arraigned for piracy.\nAre there any there whom you have seen elsewhere?\"\n\n\"Yea, yea, that there be! There! And there! And there!\"", "and sailing toward the Caribbean where they hope to plunder Spanish\ntowns and galleons. Mistaking an English man-of-war for a merchantman,\nthey are captured and brought back to England for trial. Only one,", "There was a great whispering among the people, who thought it was a\nshame for so likely a lad to hang with a pack of pirates. But it was", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "on the head and a burial over the side was the kindest treatment he\ncould expect of them. And if not--the gallows loomed beyond a Court of", "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "who contrived the plan for killing Captain Candle and taking the Rose\nof Devon. Yea, they called me apart on the forecastle and tempted me to\nsin and forced me with many threats. He it was--\"", "of the story of piracy and robbery and murder and black crimes unfit\nfor the printed page that this renegade pirate told to the full Court", "sailed: the sea upon which many a man with less plain evidence of\npiracy against him has embarked from a yardarm with a hempen collar\nabout his neck and a black cap over his eyes.", "All hands stood watch till dawn as a tribute to the war of one pirate\nupon another, and not until the sun had risen and shown no sail in\nsight did the Old One himself go into the great cabin.", "the High Court of Admiralty and were arraigned for piracy and robbery\non the high seas and charged with seizing the frigate Rose of Devon,\nthe property of Thomas Ball and others, and murdering her master,", "In the fullness of time, the Lord High Admiral of England, \"who holds\nhis court of justice for trials of all sea causes for life and goods,\"", "A rumble of laughter issued, then the Old One's voice, \"Lay him here\nin the steerage and shackle him fast to the mizzen. He may well be\nthankful that I am a merciful man.\"", "There was a great concourse of people, for who would not seize upon\nthe chance to see a band of pirates? But a very poor show the pirates", "of Admiralty. The fellow made a great story of it, yet kept within a\nbowshot of the truth; but he was a villain of mean spirit and, though", "gulled, and that to reveal the truth would fix upon him the lasting\nridicule of his shipmates. He swelled in fury and gave them angry", "shall not hang alone.\" And laughing again, right merrily, he swooned\naway, which Captain Charles Winterton, having himself come down with\nthe others to see them all shackled, watched with quiet interest." ], [ "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "against them, save only one man.\" In the deathly silence that fell upon\nthe room the name sounded forth like the stroke of a bell. \"We acquit,\nmy lord, Philip Marsham.\"", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "Phil heard a dog barking; he saw a woman standing in the door of a\ncottage; he saw a cloud of dust rise above the meadow; then they came.", "He stood there looking very fierce as he spoke, but there was a laugh\nin his eyes, and when Phil turned to go, he flung the lad a silver coin.", "The Old One and Harry Malcolm then exchanged quick glances, and Jacob\nshut his small mouth tight and knotted his brows.\n\n\"Well,\" cried Phil, \"would you charge me with theft?\"", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "Rising, Phil looked at the two again. He was as tall as they, if not\nso broad. After all, it was only Martin whose head was humming with\nliquor; the lean man, it now appeared, was as sober as he pleased to be.", "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "Phil rose now, and drew from inside his shirt his small pouch of\nsilver. \"I'll pay the score,\" he said.", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "Phil had thrown back at the burly knight. Martin bought food with it\nand Phil, though he thought it would have choked him, helped him eat\nit; and so they survived the day.", "There was heavy silence in the cabin. Jacob, pursing his lips and\nknotting his brows, looked from one of them to another, and Phil,\nvaguely on the defensive, drew back and gave them a gaze as steady as\nthey sent.", "They stopped and looked toward the source of the summons, but Phil, a\nshade the slower to return to his antagonist, saw out of the corner of", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "hand he plunged at them over the hay, with a yell of triumph. But his\nfooting was none of the best, and as he came, Phil rose with a great" ], [ "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "against them, save only one man.\" In the deathly silence that fell upon\nthe room the name sounded forth like the stroke of a bell. \"We acquit,\nmy lord, Philip Marsham.\"", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "\"It seems thy brother, of whom we were to have got so much, bears thee\nlittle love.\" And Phil smiled.\n\nFor this Martin returned him an oath, and sat upon a stone.", "and of commanding the hunt, resumed his old bravado, he now made a\ngreat show of courage and resourcefulness; but Phil, having flung", "Phil had thrown back at the burly knight. Martin bought food with it\nand Phil, though he thought it would have choked him, helped him eat\nit; and so they survived the day.", "\"I would have speech of Sir John Bristol,\" said Phil.\n\nThe servant frowned. \"Nay, you have blundered,\" he replied haughtily.\n\"The servants' hall--\"", "\"Why in so great haste?\" Phil returned. \"Here is a pleasant jest. Let\nus stay a while. Who knows but some day we may ourselves sit in the", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "The years that followed were wild and turbulent, but during their\npassage Phil chanced upon one reminder and another of his earlier days", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "Now a man in stocks was a pleasing sight to Phil, for he was not so old\nthat he missed the humour of it, and he paused to grin at the unlucky", "With that, he set out again but at an ordinary pace, and Phil,\nwonderfully perplexed by his words, fell into his step.", "Phil lay meditating on the queer fate that had placed those words in\nhis mouth. \"Who,\" he said at last, \"is this Sir John?\"", "To this, Phil made effective reply by dropping the cudgel and dodging\npast the keeper to catch him round the waist from behind (for his arms,", "His Lordship frowned and the proctors shook their heads; the prisoners\nsighed and breathed more freely. The tale was at an end, and bearing\naway with him his smell of pitch and tar the fellow returned to his\nplace.", "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "Then Jacob came out of his corner and spoke to Phil. \"I will watch\nfirst,\" said he. \"The cook hath laid a fine supper on the cabin table." ], [ "Phil hesitated, for though they had talked freely, as young men will,\nthe question searched a side of Phil's life to which as yet he had", "\"It seems thy brother, of whom we were to have got so much, bears thee\nlittle love.\" And Phil smiled.\n\nFor this Martin returned him an oath, and sat upon a stone.", "So to the inn Phil came in due time, having meditated much, meanwhile,\non the talk of the King and war and the rights of Parliament, which was", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "The years that followed were wild and turbulent, but during their\npassage Phil chanced upon one reminder and another of his earlier days", "Philip Marsham went to the war with Sir John Bristol, and fought for\nthe King, and rose to be a captain; and with the story of Philip", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "\"Why in so great haste?\" Phil returned. \"Here is a pleasant jest. Let\nus stay a while. Who knows but some day we may ourselves sit in the", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "\"I have seen his kind before,\" a voice said low in Phil's ear. \"But\nthough there be much of the calf in him, beware lest you rouse him to\nsuch a pitch that he will draw and strike.\"", "Phil took umbrage; but the fellow cried Nay, that he would fight no\nsuch keen blade, who was, it seemed, a better man than he looked. And", "And yet, though his grief was bitter, he had too just a mind to see\nonly one side of a great war. Once, when they sent him from the King's", "Phil lay meditating on the queer fate that had placed those words in\nhis mouth. \"Who,\" he said at last, \"is this Sir John?\"", "second time and turned very hastily round. Straightway seizing Phil by\nthe arm he whispered hoarsely, \"Come now, we must hie us away again,\nand that speedily.\"", "Miles Philips was his name and the manner of his suffering at the hands\nof the Indians and the Spaniards may serve as a warning. For they flung", "\"I knew he was your brother,\" Phil said. But he was not thinking of\nMartin or his brother. He was thinking of the old knight in the scarlet", "To Phil she said nothing but her glance held him, and he whispered, \"I\nwill come back and marry you.\"\n\nShe smiled.\n\n\"You will wait for me?\" he whispered, and kissed her." ], [ "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "After all his weary travels by land and sea, Philip Marsham had at last\ncome back to find a man whom he had seen but once and for a brief time.", "Thereupon Martin posted in all haste back the way he had come and Phil,\nof no mind to be left now, since they had journeyed together thus far,\nfollowed at his heels with a curiosity that he was intent on satisfying.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "At this Phil sat down on a stone, for his weakness had grown on him\nsorely, and replied that whither he was going he neither knew nor", "The years that followed were wild and turbulent, but during their\npassage Phil chanced upon one reminder and another of his earlier days", "With that, he set out again but at an ordinary pace, and Phil,\nwonderfully perplexed by his words, fell into his step.", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "As Phil sat at the table in the great cabin, which was so dark that he\ncould scarcely see the plate in front of him (although he ate with no", "\"Jacob!\" Phil cried once more, and sent his voice out far across the\nwater. But there was still no answer. Jacob had gone.", "\"Why in so great haste?\" Phil returned. \"Here is a pleasant jest. Let\nus stay a while. Who knows but some day we may ourselves sit in the", "Now a man in stocks was a pleasing sight to Phil, for he was not so old\nthat he missed the humour of it, and he paused to grin at the unlucky", "To Phil she said nothing but her glance held him, and he whispered, \"I\nwill come back and marry you.\"\n\nShe smiled.\n\n\"You will wait for me?\" he whispered, and kissed her.", "But Martin was gone, and Phil hastening after him saw a face in a\nwindow, which was watching Martin hurry through the town. And when Phil\npursued Martin the eyes in the window scanned the lad from head to foot.", "At Phil she cast many glances, quick and sharp like a bird's, but she\nnever spoke to him nor he to her.", "Whatever the end she came to, Phil Marsham was far away when they\ndetermined her fate. For the day he stepped out in the streets of", "So Phil waited; and the broad hat that hung on the bulkhead scraped\nbackward and forward as the ship plunged into the trough and rose on", "Phil Marsham had gone in the night over the hills and across the narrow\npeninsula between two bays. Though the way was rough, the land was high", "ships of good burden loading and unloading in the very bosom of the\ntown, as the scribe hath it. Thither Phil would have gone straightly\nbut Martin shook his head. So turning up from the river, they passed" ], [ "Philip Marsham was bred to the sea as far back as the days when he was\ncutting his milk teeth, and he never thought he should leave it; but\nleave it he did, once and again, as I shall tell you.", "of the King was lost, and the day broke when Philip Marsham was ready\nto turn his back on England.", "Though Philip Marsham had no fear of hard fighting, neither was he an\narrant fool, and instantly he perceived that he was one man against\nmany under circumstances that doubled the odds. His heart beat fast and\na cold sweat sprang out on his forehead.", "There and then Philip Marsham parted company with the men of the Rose\nof Devon. His hands shook when he rose a free man, and when many spoke\nto him in all friendliness he could find no voice to reply.", "Captain Philip Marsham wished no more than that. So he struck a bargain\nfor passage, and paid with gold, and sailed from England for the second", "And with that they forgot Philip Marsham, or at all events treated him\nas if he had never existed.", "Now it was for such a moment that Philip Marsham was waiting, nor had\nhe doubted the moment would come. For although Martin had gone apart", "Whatever the end she came to, Phil Marsham was far away when they\ndetermined her fate. For the day he stepped out in the streets of", "So with few words but with warm friendliness they parted, and Philip\nMarsham went away over the heath, wondering how a Scottish smith came", "round the lips and his hands were shaking like the palsy. \"Said he\naught of hanging?\" he whispered. But Philip Marsham was then in no", "\"Why, I am here to set myself up for a farmer. I had a reason for\nleaving London--\"", "After all his weary travels by land and sea, Philip Marsham had at last\ncome back to find a man whom he had seen but once and for a brief time.", "would thus have summoned. But although Philip Marsham, it seemed, had\ntaken the Old One's eye and won his heart long before on the little", "To Philip Marsham, who could have expected prison at the very least,\nthis fair chance to fight his own battle came as a reprieve; and though", "Despite their fair words, though, they were watching Philip Marsham\nlike three old tomcats watching a sparrow, and he, being no fool, knew\nthe reason why.", "God, which laid Philip Marsham on his back with a fever in the spring\nof his nineteenth year, he had gone down with his father in the ketch\nSarah, the night she foundered off the North Foreland.", "Very likely it was foolish of Philip Marsham to attempt escaping,\nbut as I have said he was of no mind to be caught thus like a thief", "came to Philip Marsham, whose heart chilled when he met the sharp eyes\nthat had looked so hard into his own in Bideford long before. \"Nay,", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "the eyes of Philip Marsham, who had sat for an hour watching him, he\ngave a great start and cried, \"God forgie us! I hae clean forgot the\nlad!\"" ], [ "So he came a second time to the harbour of Bideford, in Devon, and had\nit in his mind to take ship for some distant land where he could forget", "came to Philip Marsham, whose heart chilled when he met the sharp eyes\nthat had looked so hard into his own in Bideford long before. \"Nay,", "\"I am of no mind to go farther,\" Phil replied, looking back. \"There\nwill be more vessels sailing out of Bristol than out of Bideford. A man\ncan choose in which to go.\"", "\"And have never seen Devon? Never laid foot in Bideford, I'll venture.\"\nThere was a cunning look in his eyes and again he shifted the book.\n\n\"'Tis even so.\"", "At the sound of steps, Phil drew back and hung over the water on the\ngreat stern of the ship.", "he cried. \"There's a man in their midst. Stay! Who is he? He is--yea,\nhe is the very one, come back to Bideford despite his fears. And it", "So Phil waited; and the broad hat that hung on the bulkhead scraped\nbackward and forward as the ship plunged into the trough and rose on", "to His Majesty's port of Bideford. Yea, my lord.--And have I met with\nthem? That I have, and to my sorrow. This month two years I was master", "\"Ah! And you sailed, I believe you said, from Bideford. Doubtless you\nhave kept the day in mind?\"\n\n\"Why, 'twas in early May. Or--stay! 'Twas--\"", "time in the old Rose of Devon, the dark frigate that by God's grace had\ncome back to Bideford in the hour when he most needed her.", "ships of good burden loading and unloading in the very bosom of the\ntown, as the scribe hath it. Thither Phil would have gone straightly\nbut Martin shook his head. So turning up from the river, they passed", "and through Bridgewater, where to their wonder there was a ship of a\nhundred tons riding in the Parret. They went through Dulverton on a", "So the Rose of Devon let go her anchors and swung with the tide a\ncable's length from the unknown ship, which lay dark and silent and\napparently deserted.", "for dead, and from the talk of his murderous companions he had learned,\nbefore they set upon him that they were certain gentry of Bideford;\nand the last of the four told of the murderous attack of a boarding", "The colour returned to his round face and the sly, crafty look returned\nto his eyes. \"We'll find him at Bideford, though, and all will go well", "The night wore on, and nodding, Phil thought of the two ships lying\none on each side of the point of land and by all appearances two quiet", "Scarcely conscious of his own thought, Phil glanced toward the dark and\ndistant shore; but, slight though his motion, the carpenter's one eye\nsaw it and his none too nimble wit understood it.", "The two went on into the town, where there were seafaring men standing\nabout and talking of ships, which gave Phil Marsham a feeling of being", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "dared not stay, and although upon again arising he saw that dark clouds\nwere covering the sky, he once more stepped forth with such a stout\nheart as had carried him out of London and all the long way to Bideford" ], [ "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "When Phil turned away, old Jacob cleared his throat.\n\n\"Boatswain--\"\n\n\"Yea?\"\n\n\"Do not hurry.\"", "It was Will Canty, the youth who had already won the young boatswain's\nliking, spoke thus. He was a comerado more to Phil's taste than was", "The captain's eyes searched his face. \"I sent for you,\" he said,\n\"because I was minded to make you my boatswain. But now, if my mate\nwere lost, I swear I'd seat you at mine own table.\"", "Phil rose.\n\n\"Go then, Master Boatswain. But stay! You and your comerado make a\nstrange pair. How came you bedfellows?\"", "\"It seems,\" said the Old One, \"that our boatswain hath a liking for the\nfellow.\"\n\n\"And that the fellow hath a liking for our boatswain, think you?\"", "\"Why, sir, we met upon the road--\"\n\n\"Yea, not at sea! Not at sea! Enough is said. Begone, Master Boatswain,\nbegone!\"", "\"Come, boatswain,\" said the Old One, in a quiet, solemn voice. \"There\nis an oar to pull.\"", "\"Master Boatswain,\" the Old One called, but softly, \"do thou take it\nupon thyself, although it lies outside thine own province, to make", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "So, \"Come, boatswain, and lend us thy wits,\" cried Tom. \"Four heads\nshall provide more wisdom than three.\" And with that, he clapped Phil", "had taken place and studying the face of his boatswain; but his liking\nof the lad's spirit outweighed his doubts, for such bold independence,", "\"Why, I am master now, good boatswain.\"\n\n\"But Captain Candle--\"\n\n\"His flame is out.\"", "\"It was the boatswain and young Canty,\" he said.\n\n\"Ah!\"\n\n\"They was leaning on the forecastle and walking the deck arm in arm and\ntalking of one thing and another.\"", "Martin again turned his back on the boatswain and hugged himself, but\nto little profit, although his fat arms covered a goodly area. Phil", "\"Thy boatswain is a brave lad,\" the Old One said to the mate, and\nstepping in front of him, he spread his legs and folded his arms.", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "\"A thief, you say?\" And the hot red of anger burned its way across the\nboatswain's face, for the three had turned and looked hard at him.", "At this the carpenter laughed, pleased with believing he had got the\nboatswain's thoughts off the affair of the moment. \"Why, little enough.", "swiftly. \"Good boatswain,\" said he, \"these foolish fellows have bade us\nashore to break bread with them and share a bottle of wine. Now I am" ], [ "\"Aye, they pay, they pay. And the gentlemen bear Mother Taylor nought\nbut love. How else could they do their business but for good Mother", "\"'Tis not for nought the gentlemen love Mother Taylor,\" she quavered.\n\"What can a woman do when her beauty's gone but hold a man by the food", "\"Hm! Let us look into this matter!\" There was silence in the room\nexcept for the sound of shuffling papers. \"This woman, commonly known\nas Mother Taylor, is to be hanged this day sennight, I believe.\"", "It was early morning when Mother Taylor called them down to breakfast\nat a table burdened with good food such as they had not eaten for many", "\"Th' art a good old witch, Mother Taylor, though the Devil cry nay,\"\nsaid Martin. \"Though thy score be high never did'st thou grudge a man\nthe meat he ate.\"", "One told Philip Marsham that Mother Taylor was hanged; another said\nthey let her go, to die a natural death in the shadow of the gallows", "Taylor?\" She led them into a little back room where there was a fire\nand a singing kettle; and as she scuttled with a crooked, nimble gait", "\"Why,\" quoth the Old One, \"you have sat in Mother Taylor's kitchen and\nheard talk of the gentlemen. You know too many secrets. Unless you are\none of us--\" He finished with a shrug.", "captain. Some said that now the luck would change and told of prizes\nthey had taken and would take, and recalled to mind the strong liquors\nof Bideford and the pasties that Mother Taylor would make for them.", "\"No wine?\" cried Martin. \"Mother Taylor has no wine? Come, thou old\nbeldame, serve us a stronger tipple.\"", "Of this Martin appeared to have no perception, for he smiled and\nwhispered, \"Mother Taylor hath done well by us. This Rose of Devon is a\ntall ship and by all the signs she will be well found.\"", "\"One of us, say'st thou? Enter and welcome, then, young sir. Mother\nTaylor bids thee welcome. One of us? 'Tis the more pity so few of the\ngentlemen are left in port.\"", "us, my hearts, we shall carry home to good Mother Taylor riches that\nwill serve for a sponge to wipe the chalk from every black post in", "A murmur passed over the court and the people turned their heads to\nlook for the meaning of the cry. Then a door opened and an officer\nappeared, leading by the arm a very old woman.", "She chuckled down in her skinny old crop. \"Let us see. The Old One has\ngone and that's done. You were late.\"\n\n\"'Tis a long road and we went astray.\"", "boatswain--nay, grumble not! He came with Martin Barwick and he hath\nsat in Mother Taylor's kitchen, where may we all sit soon and raise our", "long days. She sat by the fire, a bent old woman in a round-backed\nlittle chair, watching them with keen small eyes while they ate, and", "\"True, old mother witch, who knows?\" Martin tapped the table. \"Can'st\narrange it?\"\n\n\"Nay. But I can start the wedge.\"", "She showed by a grunt that she had heard him but otherwise paid no\nattention to what he said. She brought food from a cupboard and laid\nthe table by the fire, and going into a back room, she drew a foaming\npitcher of beer.", "\"Is this the woman?\" quoth my Lord the Judge, who raised his head and\nlifted his brows to see her the better.\n\n\"Yea, my lord.\"" ], [ "\"Have you done as you said?\" Phil asked in a breathless whisper.\n\n\"That I have.\" And it was Will Canty who spoke.", "If Will Canty's face changed at all, it was a whit the paler as he met\nthe Old One's eyes. \"I say,\" he replied, \"that since we have fish on", "To a young fellow leaning over the waist one of the men called, \"Well\nmet, Will Canty!\"", "three, of whom Will Canty was one, must fain perceive how futile would\nbe present resistance. Indeed, in the years since the old Queen had", "It was Will Canty, the youth who had already won the young boatswain's\nliking, spoke thus. He was a comerado more to Phil's taste than was", "Canty was pointing out this one or that, there was treacherous work in\nthe wind. So down through them we rushed, all together, bearing Will", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "\"You come late,\" said the one who had answered to the name of Will\nCanty. \"Unless I am much mistaken, you were not on board yesterday.\"", "\"Why,\" said Will Canty, and his face was white, but with a red spot on\neither cheek, \"my can, since you say what you say, was dry; and for the", "words. But Will Canty met Phil's eyes and there passed between them a\nlook that made the Old One frown, for he was a man who saw everything.", "Reaching the summit, of the hill, where he was safely out of sight from\nthe ship, the fellow--and it was indeed Will Canty--searched the sea", "And Will Canty, too, was gone! As the old writer has it, \"One is choked\nwith a fly, another with a hair, a third pushing his foot against the", "wean him from the love of earth.\" Though Will Canty had died a hard\ndeath, he had escaped worse; and as Priam, numbering more days than", "any shrewd man might have known by his eyes, and Will Canty was no\nfool.) \"Come, cook, and boil us a great kettle of fish.\"", "affair drove the butt of his gun against Will Canty's chin, and in\nrecovering the piece he stumbled and pushed the Old One off his", "balance. So the Old One lost his hold on Will Canty's wrist and before\nthe rest knew what was happening Will had slipped into the deep water\nand had sunk. That he never rose was doubtless the best fortune that", "should never see her again. Then he looked down at the tremulous and\nshimmering bay where Will Canty lay dead, and was glad to plunge over\nthe hill and leave the bay behind him.", "he sleepily watched the small groups that were all the time gathering\nand parting. Will Canty, his face a little whiter than ordinary and his\nhand holding his firelock upright by the barrel, stood ill at ease by", "\"It seems,\" said the Old One, and in a strangely quiet voice, \"that the\nedge that is nicked is not Will Canty's. Is it thine, Jacob, or mine?\"", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and" ], [ "\"Yea.\"\n\n\"That is the Old One, and Tom Jordan is his proper name.\"", "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "\"Of the sea,\" cried the Old One in a voice so like thunder that a man\nwould not think it could have come from his lean throat. \"Run out", "Then the Old One's voice, rising to a yell, called, \"Stand back! Stand\noff! Now, my hearts!\"", "fortune.\" His thin face, as he lifted his brows and slightly smiled at\nhis host, settled into the furrowed wrinkles that had won him the name\nof the Old One.", "\"Gone?\" quoth the Old One. His face, as the starlight revealed it, was\nnot for the reading, but despite him there was something in his voice\nthat caught the attention of the men.", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "The Old One smiled and reached for a musket, and the poor fellow, his\nface streaked with gore, was overcome by the greater terror and fled", "He died in the Old One's arms, for the Old One caught him before he\nfell, and held him thus.\n\n\"Well done,\" the Old One said to his man.", "\"Swine! Ass!\" the Old One snarled. \"I was of a mind to lay thee in Will", "The Old One from the quarter-deck looked down at the new comer.\n\n\"Rab took the steel,\" the fellow said.\n\n\"Rab!\" the Old One cried. \"Not Rab, you say?\"", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "the ground. Indeed, the Old One had intended to kill him, and had he\nnot been so weary, he would doubtless have stayed to complete his work,\nfor his temper was torn to rags.", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "The Old One looked about and nodded. \"True,\" said he. \"There is no\nrecovering the boat and darkness is upon us. Let us go as near to", "The Old One smiled. \"Go, drink, if thy tale be worth it; but mind, if\nI deem thy tale not worth it, thou shalt pay with a drop of blood for\nevery drop of water.\"", "If Will Canty's face changed at all, it was a whit the paler as he met\nthe Old One's eyes. \"I say,\" he replied, \"that since we have fish on", "The Old One, standing beside Captain Candle, had watched the light to\nthe last. \"It is a bitter grief to bear,\" he said, \"for they were seven", "\"Well,\" cried the Old One in a voice that seemed as full of wonder as\nof wrath,--they heard him plainly,--\"what in the Devil's name mean ye\nby this?\"", "The Old One's own men chuckled at the cook's blank face and the boy\nshivered when he thought that he must wait on them all, of whom one was" ], [ "Philip Marsham went to the war with Sir John Bristol, and fought for\nthe King, and rose to be a captain; and with the story of Philip", "Marsham is interwoven inseparably the story of Anne Bristol and of her\nfather, Sir John. For Sir John Bristol died at the second battle of", "CHAPTER V\n\nSIR JOHN BRISTOL", "Sir John Bristol! There, gentlemen, was a brave, honest man! A man of\nspirit and of a humour! If you crossed him, if you toyed with him, his", "\"Throw down those knives,\" the knight ordered, for it took no divining\nto perceive that here was Sir John Bristol in the flesh. \"Thrust them,\npoints into the ground. Good! Now have on, and God speed the better\nman.\"", "\"Hast never heard of Sir John Bristol? In faith, thou art indeed a\nstranger hereabouts. He is a harsh man withal, and doubtless my ill", "\"'Who is Sir John?'\" The fellow turned and looked at him. \"You have\ncome from farther than I thought, not to know Sir John Bristol.\"\n\n\"Sir John Bristol? I cannot say I have heard that name.\"", "\"Come,\" said Phil quietly, \"enough of that! I will have speech of Sir\nJohn Bristol.\"", "\"I would have speech of Sir John Bristol,\" said Phil.\n\nThe servant frowned. \"Nay, you have blundered,\" he replied haughtily.\n\"The servants' hall--\"", "Sir John Bristol throw back his head proudly and jest with the girls of\nthe towns on their march; but these were men of another pattern.", "CHAPTER XXIII\n\nAND OLD SIR JOHN", "as Sir John Bristol or any such indomitable sense of fair play, and\nthat man was Phil's dead father.", "the years of his youth and early manhood. He was in the mood, then,\nto envy Sir John Bristol and all the gallant company that had died on", "Sir John turned then and looked Philip Marsham in the eye. \"It was a\ngood fight,\" he said, and smiled. \"Courage and honour will carry a man\nfar.\"", "\"Yea, Sir John.\"\n\n\"Make place for this good fellow in the servants' hall and see that he\nhath all that he can eat and drink.\"\n\n\"Yea, Sir John.\"", "Sir John flung him away with a last whistling stroke of the great\nstaff. \"That,\" said he, \"for cowardice.\"\n\nAnd Jamie Barwick, having already forgotten his own rebuke, was broadly\nsmiling.", "\"I said Sir John.\"\n\n\"Sir John? It is--ahem!--impossible.\"\n\n\"I said Sir John.\"\n\nThe servant moved as if to shut the door.", "the fields of Naseby and Newbury, and of many another great battle;\nfor he was the King's man, and great houses of the country had fallen,", "Sir John was laughing mightily. \"You gave him full measure, and thank\nGod you are fresh from a fast or I'd ha' lost a keeper. As for food, we", "\"So!\" Sir John stood looking at him. \"I have a liking for thee,\" he\nsaid, and smiled. But he then, it seemed, again forgot that there was" ], [ "Philip Marsham went to the war with Sir John Bristol, and fought for\nthe King, and rose to be a captain; and with the story of Philip", "Marsham is interwoven inseparably the story of Anne Bristol and of her\nfather, Sir John. For Sir John Bristol died at the second battle of", "\"Throw down those knives,\" the knight ordered, for it took no divining\nto perceive that here was Sir John Bristol in the flesh. \"Thrust them,\npoints into the ground. Good! Now have on, and God speed the better\nman.\"", "CHAPTER V\n\nSIR JOHN BRISTOL", "They came to Bristol over the hills that lie to the south of the town.\nThey had lost time on the way and had grown weary and sore of foot; and", "Sir John Bristol throw back his head proudly and jest with the girls of\nthe towns on their march; but these were men of another pattern.", "Sir John Bristol! There, gentlemen, was a brave, honest man! A man of\nspirit and of a humour! If you crossed him, if you toyed with him, his", "\"Hast never heard of Sir John Bristol? In faith, thou art indeed a\nstranger hereabouts. He is a harsh man withal, and doubtless my ill", "wander, all the way across England from the Channel to the Severn. He\nhad made port, once upon a time, in Bristol and he remembered lifting", "\"'Who is Sir John?'\" The fellow turned and looked at him. \"You have\ncome from farther than I thought, not to know Sir John Bristol.\"\n\n\"Sir John Bristol? I cannot say I have heard that name.\"", "Far away in Hungroad and Kingroad ships were anchored, but the vessels\nat the wharves of Bristol lay with their keels in mud, for the tide was", "many hardships in winning to the shore of Ireland, whence the Grace\nof Bristol bore us home to England.--The fate of the others in our\ncompany? In faith, some, I am told, joined themselves with that same", "\"Come,\" said Phil quietly, \"enough of that! I will have speech of Sir\nJohn Bristol.\"", "nor would Martin stay to rest till from the southern hill that had\ngiven them their first prospect of Bristol city they looked back upon\nthe houses and the river and the ships. Martin breathed more easily", "as Sir John Bristol or any such indomitable sense of fair play, and\nthat man was Phil's dead father.", "out and the tides of Bristol, as all know, have a wonderful great flow\nand ebb.", "\"I would have speech of Sir John Bristol,\" said Phil.\n\nThe servant frowned. \"Nay, you have blundered,\" he replied haughtily.\n\"The servants' hall--\"", "up the Bristol Channel, and nodding and curtseying to old Neptune, she\nentered upon his dominions.", "\"I am of no mind to go farther,\" Phil replied, looking back. \"There\nwill be more vessels sailing out of Bristol than out of Bideford. A man\ncan choose in which to go.\"", "Bristol Channel; the second had received a gaping wound in the shoulder\noff St. David's Head, and had known no more until he found himself" ], [ "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "and bent forward, lifting Phil from the ground bodily; then he flung\nhimself upon his back and might have killed the lad by the fall, had\nPhil not barely wriggled from under him.", "and shivered and dared not look the jury in the face. The carpenter\nwept and Martin Barwick was like a man struck dumb and Paul Craig kept\nworking his mouth and biting at his lips.", "against them, save only one man.\" In the deathly silence that fell upon\nthe room the name sounded forth like the stroke of a bell. \"We acquit,\nmy lord, Philip Marsham.\"", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "Phil had thrown back at the burly knight. Martin bought food with it\nand Phil, though he thought it would have choked him, helped him eat\nit; and so they survived the day.", "The Old One and Harry Malcolm then exchanged quick glances, and Jacob\nshut his small mouth tight and knotted his brows.\n\n\"Well,\" cried Phil, \"would you charge me with theft?\"", "\"Ah!\" The crafty, sly look came upon Martin's face and he puffed with\npride; but Phil, delighting to see the jest take effect, laughed before\nhis eyes, which sorely perplexed him.", "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "The fellow's face was so white and his lips and his bruises were so\nblue that Phil laughed at him before his eyes, who thereupon lost his", "Phil hesitated, for though they had talked freely, as young men will,\nthe question searched a side of Phil's life to which as yet he had", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "falling as fast as ever, though a man whose life is weighing in the\nbalance can scarcely believe it; so at last the jury made an end of its\nwork, which after all had taken little enough time in consideration of", "To this, Phil made effective reply by dropping the cudgel and dodging\npast the keeper to catch him round the waist from behind (for his arms,", "Now a man in stocks was a pleasing sight to Phil, for he was not so old\nthat he missed the humour of it, and he paused to grin at the unlucky", "fellow's middle sorely distressed him. As they swayed back and forth\nthe keeper suddenly seized Phil's head over his own shoulder and rose", "\"It seems thy brother, of whom we were to have got so much, bears thee\nlittle love.\" And Phil smiled.\n\nFor this Martin returned him an oath, and sat upon a stone." ], [ "I!--to see a pirate hanged, I am most loath to swear away the life of\nan innocent man. There is no man here of whom I can truly say I have\nseen him before.\"", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "Phil hesitated, for though they had talked freely, as young men will,\nthe question searched a side of Phil's life to which as yet he had", "gulled, and that to reveal the truth would fix upon him the lasting\nridicule of his shipmates. He swelled in fury and gave them angry", "There was a great whispering among the people, who thought it was a\nshame for so likely a lad to hang with a pack of pirates. But it was", "The other gave a grunt of disgust.\n\n\"Nay, it is a wonder to me that a lad with your nice notions ever found\nhis way to sea,\" Phil retorted.", "The Old One and Harry Malcolm then exchanged quick glances, and Jacob\nshut his small mouth tight and knotted his brows.\n\n\"Well,\" cried Phil, \"would you charge me with theft?\"", "The mate turned to the master, but the master firmly shook his head.\n\"Come, seize the tide,\" he called. \"We will stay for no man.\"", "Though a man were a knave and liar, Phil Marsham had no stomach to\nsee him drown thus; and though he held old Martin in contempt and", "All hands stood watch till dawn as a tribute to the war of one pirate\nupon another, and not until the sun had risen and shown no sail in\nsight did the Old One himself go into the great cabin.", "who contrived the plan for killing Captain Candle and taking the Rose\nof Devon. Yea, they called me apart on the forecastle and tempted me to\nsin and forced me with many threats. He it was--\"", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "When Phil turned away, old Jacob cleared his throat.\n\n\"Boatswain--\"\n\n\"Yea?\"\n\n\"Do not hurry.\"", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "\"I am of no mind to go farther,\" Phil replied, looking back. \"There\nwill be more vessels sailing out of Bristol than out of Bideford. A man\ncan choose in which to go.\"", "Phil took umbrage; but the fellow cried Nay, that he would fight no\nsuch keen blade, who was, it seemed, a better man than he looked. And", "wind; but he would not go back, though he refused to speak further of\nhis reason for it; and Phil, though in truth he liked Martin little,", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and" ], [ "would thus have summoned. But although Philip Marsham, it seemed, had\ntaken the Old One's eye and won his heart long before on the little", "Philip Marsham was bred to the sea as far back as the days when he was\ncutting his milk teeth, and he never thought he should leave it; but\nleave it he did, once and again, as I shall tell you.", "Though Philip Marsham had no fear of hard fighting, neither was he an\narrant fool, and instantly he perceived that he was one man against\nmany under circumstances that doubled the odds. His heart beat fast and\na cold sweat sprang out on his forehead.", "God, which laid Philip Marsham on his back with a fever in the spring\nof his nineteenth year, he had gone down with his father in the ketch\nSarah, the night she foundered off the North Foreland.", "round the lips and his hands were shaking like the palsy. \"Said he\naught of hanging?\" he whispered. But Philip Marsham was then in no", "Despite their fair words, though, they were watching Philip Marsham\nlike three old tomcats watching a sparrow, and he, being no fool, knew\nthe reason why.", "there. Philip Marsham, whose watch was below, had stayed because he\nsuspected there was some strange thing in the wind and was determined\nto learn if possible what it was. Two of the others were younkers of", "As Philip Marsham watched her hard face, so very old and crafty, he\npaid little heed to the low voices of the proctors and the Judge. But", "the eyes of Philip Marsham, who had sat for an hour watching him, he\ngave a great start and cried, \"God forgie us! I hae clean forgot the\nlad!\"", "After a long time the master turned about and walked into the cabin\nand, there espying Philip Marsham, he smiled and said, \"I was remiss. I\nhad forgotten you.\" He threw aside the cloak that lay on the chair and\nsat down.", "Philip Marsham would have liked well to see the gun himself, since a\ntaste for such gear was born in him; but he had been long bedridden,", "Of all in the room, mind you, none was more amazed than Philip Marsham,\nand indeed for a moment his wits were quite numb. He sat with the gun", "\"But stay a moment. Thy name, fellow.\"\n\n\"Philip Marsham.\"", "came to Philip Marsham, whose heart chilled when he met the sharp eyes\nthat had looked so hard into his own in Bideford long before. \"Nay,", "To Philip Marsham, who could have expected prison at the very least,\nthis fair chance to fight his own battle came as a reprieve; and though", "After all his weary travels by land and sea, Philip Marsham had at last\ncome back to find a man whom he had seen but once and for a brief time.", "Now it was for such a moment that Philip Marsham was waiting, nor had\nhe doubted the moment would come. For although Martin had gone apart", "\"Philip Marsham.\"\n\n\"Ye'll spell it out for me?\"\n\nThis Phil did.", "The men sitting here and there on deck stirred and looked at one\nanother; but Philip Marsham leaped to his feet.\n\n\"Sit down, lad,\" said the carpenter.", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense." ], [ "God, which laid Philip Marsham on his back with a fever in the spring\nof his nineteenth year, he had gone down with his father in the ketch\nSarah, the night she foundered off the North Foreland.", "And with that they forgot Philip Marsham, or at all events treated him\nas if he had never existed.", "\"Tom Marsham's father and mother are dead, but within the year, lad,\nthey stood where you are standing now. It was the last time I saw them.\"", "In response to the summons of the long forefinger, Phil climbed the\nladder to his side.\n\n\"You say he hath gone,\" the Old One quietly repeated. \"When did he go?\"", "would thus have summoned. But although Philip Marsham, it seemed, had\ntaken the Old One's eye and won his heart long before on the little", "of the King was lost, and the day broke when Philip Marsham was ready\nto turn his back on England.", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "Despite their fair words, though, they were watching Philip Marsham\nlike three old tomcats watching a sparrow, and he, being no fool, knew\nthe reason why.", "\"Jacob!\" Phil cried once more, and sent his voice out far across the\nwater. But there was still no answer. Jacob had gone.", "Newbury with his head on Philip Marsham's knees; and in his grief at\nlosing the brave knight who had befriended him, the lad prayed God for\nvengeance on the Roundhead armies.", "round the lips and his hands were shaking like the palsy. \"Said he\naught of hanging?\" he whispered. But Philip Marsham was then in no", "the eyes of Philip Marsham, who had sat for an hour watching him, he\ngave a great start and cried, \"God forgie us! I hae clean forgot the\nlad!\"", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "orphaned and penniless and cut off from the sea, but set himself up for\na farmer? Phil clapped his hand on his thigh and quietly laughed. That\na man needed money and skill for husbandry never entered his foolish", "came to Philip Marsham, whose heart chilled when he met the sharp eyes\nthat had looked so hard into his own in Bideford long before. \"Nay,", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "\"It is true. By now thine excellent brother hath in all likelihood\ndonned the black cap and danced on air. As for beating and", "as Sir John Bristol or any such indomitable sense of fair play, and\nthat man was Phil's dead father.", "feeling toward those who got his liking; and it sorely troubled him\nthat Philip Marsham should suffer thus, though it were at second hand.", "It was Martin, after all, who fell asleep first, for Phil lay in the\ngreat bed in the small room, thinking of all that had happened since" ], [ "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "Then the Old One's voice, rising to a yell, called, \"Stand back! Stand\noff! Now, my hearts!\"", "He died in the Old One's arms, for the Old One caught him before he\nfell, and held him thus.\n\n\"Well done,\" the Old One said to his man.", "\"Of the sea,\" cried the Old One in a voice so like thunder that a man\nwould not think it could have come from his lean throat. \"Run out", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "\"Yea.\"\n\n\"That is the Old One, and Tom Jordan is his proper name.\"", "fortune.\" His thin face, as he lifted his brows and slightly smiled at\nhis host, settled into the furrowed wrinkles that had won him the name\nof the Old One.", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "\"Gone?\" quoth the Old One. His face, as the starlight revealed it, was\nnot for the reading, but despite him there was something in his voice\nthat caught the attention of the men.", "The Old One smiled and reached for a musket, and the poor fellow, his\nface streaked with gore, was overcome by the greater terror and fled", "the ground. Indeed, the Old One had intended to kill him, and had he\nnot been so weary, he would doubtless have stayed to complete his work,\nfor his temper was torn to rags.", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "The Old One looked back at the lad and there was, for the first time,\ndoubt in his glance. He stood for a while pondering in silence all that", "The Old One, standing beside Captain Candle, had watched the light to\nthe last. \"It is a bitter grief to bear,\" he said, \"for they were seven", "Old One then fired a single shot after him, which evoked a last scream.", "The Old One from the quarter-deck looked down at the new comer.\n\n\"Rab took the steel,\" the fellow said.\n\n\"Rab!\" the Old One cried. \"Not Rab, you say?\"", "The Old One looked about and nodded. \"True,\" said he. \"There is no\nrecovering the boat and darkness is upon us. Let us go as near to", "The Old One sprang forward in fury to seize and hold him, and caught\nhim by the wrist; but one of the men in zeal to have a hand in the", "\"That for thy prattle,\" the Old One cried, for he had been walking just\nbehind. And with a club he struck the fellow a blow that sent him to", "The Old One's own men chuckled at the cook's blank face and the boy\nshivered when he thought that he must wait on them all, of whom one was" ], [ "Of this Martin appeared to have no perception, for he smiled and\nwhispered, \"Mother Taylor hath done well by us. This Rose of Devon is a\ntall ship and by all the signs she will be well found.\"", "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "ships of good burden loading and unloading in the very bosom of the\ntown, as the scribe hath it. Thither Phil would have gone straightly\nbut Martin shook his head. So turning up from the river, they passed", "It was Martin who again spoke up, having blunted the edge of his\nhunger. \"And now, you old witch, who's in port and where shall we find", "It was a great bed in a small room under the thatch; and as they lay\nthere on the good goose-feathers in the dark, Martin said, \"We'll sail\nin this Rose of Devon, lad.\"", "that made them so much trouble.\" Again Martin listened, then slapped\nhis thigh. \"They are sending us boats!\" he exclaimed. \"Though they", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "boatswain--nay, grumble not! He came with Martin Barwick and he hath\nsat in Mother Taylor's kitchen, where may we all sit soon and raise our", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "captain. Some said that now the luck would change and told of prizes\nthey had taken and would take, and recalled to mind the strong liquors\nof Bideford and the pasties that Mother Taylor would make for them.", "\"No wine?\" cried Martin. \"Mother Taylor has no wine? Come, thou old\nbeldame, serve us a stronger tipple.\"", "They stepped under the poop and Martin doffed his hat, having assumed\nhis most ingratiating smile. \"An it please you, sir,\" said he, \"have I\nthe honour to address Captain Candle of the Rose of Devon frigate?\"", "Taylor, but we must go back in another ship. You know why. Now, brave\nhearts, if we go on to New England it shall profit us nothing. For the", "\"Hm! Let us look into this matter!\" There was silence in the room\nexcept for the sound of shuffling papers. \"This woman, commonly known\nas Mother Taylor, is to be hanged this day sennight, I believe.\"", "As Phil followed Martin into the tavern he saw a bustle and flurry in\nthe street, but it passed and while they waited by the fire for the\ncaptain and the agent to come with the articles he thought no more of\nit.", "\"Why, that,\" he said, \"beës the frigate they call Rose of Devon.\"\n\n\"The Rose of Devon--nay, she cannot be the Rose of Devon!\"", "They found lying at the quay the vessel they sought, and a brave\nfrigate she was, with high poop and nobly carved fiddlehead and sharp,", "brave men. A master could desire no better mariners. 'Tis the end of\nthe Blue Friggat from Virginia, bound for Portsmouth, wanting seven\nweeks.\"", "\"We must sleep, Martin--sleep and eat, for we are spent with much\nlabour and many hardships, and it is well for them to sail our ship for\nus a while longer. But the hour will come, and do you then stand by.\"", "One paced the deck a while and the others talked in undertones. \"Yea,\nMartin,\" he called at last, \"nine good men. But we have got us a ship" ], [ "The Old One from the quarter-deck looked down at the new comer.\n\n\"Rab took the steel,\" the fellow said.\n\n\"Rab!\" the Old One cried. \"Not Rab, you say?\"", "The Old One looked Phil frankly in the eye and smiled. \"In faith, I\nhad a rare game that day with Martin, whose wits are but a slubbering", "\"And when you came on deck he was gone.\" The Old One tapped the rail.\n\"You have booklearning. Can you navigate a ship?\"\n\n\"I can.\"", "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "\"Three men, say you? Speak on.\" The Old One leaned back and folded his\narms, and though he smiled, he listened very carefully to the story the\nboatswain told.", "\"It seems,\" said the Old One, \"that our boatswain hath a liking for the\nfellow.\"\n\n\"And that the fellow hath a liking for our boatswain, think you?\"", "\"Of the sea,\" cried the Old One in a voice so like thunder that a man\nwould not think it could have come from his lean throat. \"Run out", "The fellow's manner betrayed his cowardice and the Old One pushed the\npoint of a knife against his breast. \"If again you stray or loiter,\"\nhe whispered, \"this blade will rip you open like a hog fat for the\nkilling.\"", "The Old One went aft. The ship rolled drowsily and the watch nodded.\nSurveying her aloft and alow, as a man does who is used to command, and\nnot as a guest on board might do, the Old One left the deck.", "appearances unpursued, and was again bearing up the coast. The Old One\nthen came down from the quarter-deck, and, having spoken to several of", "The Old One, leaning on the poop, smiled and Harry Malcolm, coming to\njoin him, smiled too; for they knew well the hearts of sailormen and\ndid nothing without a purpose.", "\"Come, boatswain,\" said the Old One, in a quiet, solemn voice. \"There\nis an oar to pull.\"", "\"Gone?\" quoth the Old One. His face, as the starlight revealed it, was\nnot for the reading, but despite him there was something in his voice\nthat caught the attention of the men.", "The Old One spoke again when Phil was on the ladder. \"Mind you,\nboatswain: come not abaft the mainmast until I give you leave. I bear", "\"That for thy prattle,\" the Old One cried, for he had been walking just\nbehind. And with a club he struck the fellow a blow that sent him to", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "The Old One and Harry Malcolm then exchanged quick glances, and Jacob\nshut his small mouth tight and knotted his brows.\n\n\"Well,\" cried Phil, \"would you charge me with theft?\"", "As the master paced the deck, back and forth and back and forth,\nthe Old One walked at his side--for he was a shrewd schemer and had", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept" ], [ "A rumble of laughter issued, then the Old One's voice, \"Lay him here\nin the steerage and shackle him fast to the mizzen. He may well be\nthankful that I am a merciful man.\"", "The Old One, leaning on the poop, smiled and Harry Malcolm, coming to\njoin him, smiled too; for they knew well the hearts of sailormen and\ndid nothing without a purpose.", "The Old One from the quarter-deck looked down at the new comer.\n\n\"Rab took the steel,\" the fellow said.\n\n\"Rab!\" the Old One cried. \"Not Rab, you say?\"", "\"Three men, say you? Speak on.\" The Old One leaned back and folded his\narms, and though he smiled, he listened very carefully to the story the\nboatswain told.", "All hands stood watch till dawn as a tribute to the war of one pirate\nupon another, and not until the sun had risen and shown no sail in\nsight did the Old One himself go into the great cabin.", "The Old One spoke again when Phil was on the ladder. \"Mind you,\nboatswain: come not abaft the mainmast until I give you leave. I bear", "\"Thy boatswain is a brave lad,\" the Old One said to the mate, and\nstepping in front of him, he spread his legs and folded his arms.", "The fellow's manner betrayed his cowardice and the Old One pushed the\npoint of a knife against his breast. \"If again you stray or loiter,\"\nhe whispered, \"this blade will rip you open like a hog fat for the\nkilling.\"", "\"Come, boatswain,\" said the Old One, in a quiet, solemn voice. \"There\nis an oar to pull.\"", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "The mate nodded. He had less liking for their guest, if it were\npossible, than the captain.\n\n\"A brave lad,\" the Old One repeated. \"I can use him.\"\n\n\"You?\"", "The Old One looked Phil frankly in the eye and smiled. \"In faith, I\nhad a rare game that day with Martin, whose wits are but a slubbering", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "The Old One went aft. The ship rolled drowsily and the watch nodded.\nSurveying her aloft and alow, as a man does who is used to command, and\nnot as a guest on board might do, the Old One left the deck.", "\"Let us bring thy ship nigh under the lee of mine,\" the Old One cried\nto Captain Candle. \"It may be that by passing a line we can yet save\nthem.\"", "The Old One--give the Devil his due!--was handling his ship in a proper\nmanner and by luffing he had kept abreast of those guns in the ketch", "\"Go, Harry,\" the Old One cried to the little round man, \"and tell them\nat the hatch to be still, for that we shall presently have them on\ndeck. We must learn our brave recruits a lesson.\"", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "\"And when you came on deck he was gone.\" The Old One tapped the rail.\n\"You have booklearning. Can you navigate a ship?\"\n\n\"I can.\"", "And what could a man do but slide with the others down into the\nboat and rest on the loom of an oar? Phil shared a thwart with the\ncarpenter, and raised his oar and held it upright between his knees." ], [ "should never see her again. Then he looked down at the tremulous and\nshimmering bay where Will Canty lay dead, and was glad to plunge over\nthe hill and leave the bay behind him.", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "wean him from the love of earth.\" Though Will Canty had died a hard\ndeath, he had escaped worse; and as Priam, numbering more days than", "balance. So the Old One lost his hold on Will Canty's wrist and before\nthe rest knew what was happening Will had slipped into the deep water\nand had sunk. That he never rose was doubtless the best fortune that", "If Will Canty's face changed at all, it was a whit the paler as he met\nthe Old One's eyes. \"I say,\" he replied, \"that since we have fish on", "Canty was pointing out this one or that, there was treacherous work in\nthe wind. So down through them we rushed, all together, bearing Will", "Reaching the summit, of the hill, where he was safely out of sight from\nthe ship, the fellow--and it was indeed Will Canty--searched the sea", "three, of whom Will Canty was one, must fain perceive how futile would\nbe present resistance. Indeed, in the years since the old Queen had", "\"Have you done as you said?\" Phil asked in a breathless whisper.\n\n\"That I have.\" And it was Will Canty who spoke.", "And Will Canty, too, was gone! As the old writer has it, \"One is choked\nwith a fly, another with a hair, a third pushing his foot against the", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "heads to see the shore and the Old One had already risen to choose a\nlanding-place, when Will Canty--who, although bound hand and foot, had", "Canty's bed. But let the coffin go. Th' art not worthy of it.\" The boat\ngrated on white sand, and leaping to his feet the Old One cried with a", "affair drove the butt of his gun against Will Canty's chin, and in\nrecovering the piece he stumbled and pushed the Old One off his", "he sleepily watched the small groups that were all the time gathering\nand parting. Will Canty, his face a little whiter than ordinary and his\nhand holding his firelock upright by the barrel, stood ill at ease by", "\"Why,\" said Will Canty, and his face was white, but with a red spot on\neither cheek, \"my can, since you say what you say, was dry; and for the", "Jacob had gone! The boatswain, for one, remembered old tales of rats\nleaving ships of ill fortune.\n\n\n\n\nCHAPTER XVII\n\nWILL CANTY", "words. But Will Canty met Phil's eyes and there passed between them a\nlook that made the Old One frown, for he was a man who saw everything.", "for himself Will Canty's saying, since he too hath a curious knowledge\nof Spanish, cries, 'Back to the boat, my lads!' For seest thou, if Will", "His mouth worked nervously. \"I must be off, I must be off. There they\nare again, and the last time I thought I should perish ere I got free" ], [ "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "declared himself a forced man who had run away from the pirates. Who\ncould say? The situation in which he was taken was such, certainly,", "was a lively taste for such adventure. With lusty shouting he swept\nthe handful of men from her deck, and having put a prize crew and his\nlieutenant in charge of her, he brought back a few more prisoners to", "So Phil waited; and the broad hat that hung on the bulkhead scraped\nbackward and forward as the ship plunged into the trough and rose on", "vast bloodshed and plunder, and thus they stormed about the deck at\nintervals until an hour after sunrise, when Phil from the forecastle\nand Old Jacob from his corner under the quarter-deck, having observed", "in the same ship, by curious chance, in which\n he had long before adventured\n with the pirates.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "For on the yardarm Phil had drawn dirk and cut at the snarl of ropes,\nwhere a chance ball had wrought much mischief. Then, as the two vessels", "came upon Phil Marsham by the quarter-deck ladder and gave a great\nstart. As Phil turned, the fellow whispered, \"God be thanked it is", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "whence he had come. There, having donned his clothes, he would call for\nhelp. Surely there was no one so hard of heart as to refuse a lad help\nin escaping from the pirates.", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "will seek it out as a harbour of refuge. We will tell them a tale of\nmeeting pirates who captured our shallop and part of our men. We will", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "\"I am Philip Marsham, late boatswain of the Rose of Devon frigate. I\ncame to learn from what country this ship had sailed and to ask for", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "Drake being in those seas and ran away to join him. Yet again they\ncaught him--caught this Miles Philips and clapped him into prison with", "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "Phil raised his head and renewed his hold, for he could not cling there\nforever; yet how to introduce himself on board the ship was a question" ], [ "against them, save only one man.\" In the deathly silence that fell upon\nthe room the name sounded forth like the stroke of a bell. \"We acquit,\nmy lord, Philip Marsham.\"", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "Phil had thrown back at the burly knight. Martin bought food with it\nand Phil, though he thought it would have choked him, helped him eat\nit; and so they survived the day.", "To Philip Marsham, who could have expected prison at the very least,\nthis fair chance to fight his own battle came as a reprieve; and though", "To this, Phil made effective reply by dropping the cudgel and dodging\npast the keeper to catch him round the waist from behind (for his arms,", "help him. But Phil, having kept his head and having swallowed no great\nquantity of salt water, was able after breathing deeply a few times to\nstand alone beside Will Canty whose hands had drawn him to safety, and", "His Lordship frowned and the proctors shook their heads; the prisoners\nsighed and breathed more freely. The tale was at an end, and bearing\naway with him his smell of pitch and tar the fellow returned to his\nplace.", "falling as fast as ever, though a man whose life is weighing in the\nbalance can scarcely believe it; so at last the jury made an end of its\nwork, which after all had taken little enough time in consideration of", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "and bent forward, lifting Phil from the ground bodily; then he flung\nhimself upon his back and might have killed the lad by the fall, had\nPhil not barely wriggled from under him.", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "Phil,--\"And did you ever see a man dance on air! Ah, a hanging is a\nsight to catch the breath in your throat and make an emptiness in a\nman's belly!\"", "Though a man were a knave and liar, Phil Marsham had no stomach to\nsee him drown thus; and though he held old Martin in contempt and", "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "fellow's middle sorely distressed him. As they swayed back and forth\nthe keeper suddenly seized Phil's head over his own shoulder and rose", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "Now a man in stocks was a pleasing sight to Phil, for he was not so old\nthat he missed the humour of it, and he paused to grin at the unlucky", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked." ], [ "Bearing to the west, the Rose of Devon skirted the dark shore for\nmiles; but the master and mate were growing anxious lest dawn overtake", "It was a great bed in a small room under the thatch; and as they lay\nthere on the good goose-feathers in the dark, Martin said, \"We'll sail\nin this Rose of Devon, lad.\"", "For an hour or two the old Rose of Devon went plunging through the\nseas; and there was much loosing and lowering of sails. For a while,", "Then Philip Marsham took the fate of the Rose of Devon in his hands and\nleaned out over the quarter-deck gun. \"Holla, there!\" he called, but", "enough to be on board her and away from such torment, though they ended\nthe day by hanging him. But the Rose of Devon sailed away over the blue", "So the Rose of Devon let go her anchors and swung with the tide a\ncable's length from the unknown ship, which lay dark and silent and\napparently deserted.", "On all the vessels in the harbour, and all along the quay and the\nstreets, men had stopped their work to see the Rose of Devon sail. But", "There was sullen anger and worse in the Rose of Devon when day broke,\nfor the boatswain, too, had gone and the boat lay in sight upon the\nbeach whereby all might know the means of his going.", "of the Rose of Devon, Phil had it in mind to jump and seize him from\nbehind, for so far as he could appraise the man's figure, the two were", "So to save themselves from a more cruel fate there was scarcely one of\nthem but leaped at the chance to join the Rose of Devon's crew. They", "So the Rose of Devon slipped past the ketch, whose men were striving\nto clear the rigging and come about in pursuit, and having once evaded", "One watching from the mountain would have seen the Rose of Devon spread\nher sails and put to sea like a great bird with white wings. But there", "She lay close hauled by the wind and as the Rose of Devon, scudding\nbefore the sea, bore down the wind and upon her, she hove out signs to", "Looking down at the boat and at the gaping holes the sea had stove by\nthrowing her against the Rose of Devon, the men made no reply.\n\n\"Not one will venture back? Is there no one of ye?\"", "And as the Rose of Devon rolled along in the bright sun, alone in a\nblue sea, the body of Francis Candle lay forgotten in the steerage\nroom.", "So he came a second time to the harbour of Bideford, in Devon, and had\nit in his mind to take ship for some distant land where he could forget", "Now the Rose of Devon was a week from England when a footrope parted\nand the boatswain pitched down, clutching at the great belly of the", "against the dark sides of the Rose of Devon. But the after decks were\ndeserted.", "\"I have not until now set foot on this deck,\" Phil replied. \"But\nhaving seen many vessels in my time, I venture that the Rose of Devon", "There and then Philip Marsham parted company with the men of the Rose\nof Devon. His hands shook when he rose a free man, and when many spoke\nto him in all friendliness he could find no voice to reply." ], [ "\"Yea.\"\n\n\"That is the Old One, and Tom Jordan is his proper name.\"", "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "\"Of the sea,\" cried the Old One in a voice so like thunder that a man\nwould not think it could have come from his lean throat. \"Run out", "Then the Old One's voice, rising to a yell, called, \"Stand back! Stand\noff! Now, my hearts!\"", "fortune.\" His thin face, as he lifted his brows and slightly smiled at\nhis host, settled into the furrowed wrinkles that had won him the name\nof the Old One.", "\"Gone?\" quoth the Old One. His face, as the starlight revealed it, was\nnot for the reading, but despite him there was something in his voice\nthat caught the attention of the men.", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "The Old One smiled and reached for a musket, and the poor fellow, his\nface streaked with gore, was overcome by the greater terror and fled", "He died in the Old One's arms, for the Old One caught him before he\nfell, and held him thus.\n\n\"Well done,\" the Old One said to his man.", "\"Swine! Ass!\" the Old One snarled. \"I was of a mind to lay thee in Will", "The Old One from the quarter-deck looked down at the new comer.\n\n\"Rab took the steel,\" the fellow said.\n\n\"Rab!\" the Old One cried. \"Not Rab, you say?\"", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "the ground. Indeed, the Old One had intended to kill him, and had he\nnot been so weary, he would doubtless have stayed to complete his work,\nfor his temper was torn to rags.", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "The Old One looked about and nodded. \"True,\" said he. \"There is no\nrecovering the boat and darkness is upon us. Let us go as near to", "The Old One smiled. \"Go, drink, if thy tale be worth it; but mind, if\nI deem thy tale not worth it, thou shalt pay with a drop of blood for\nevery drop of water.\"", "If Will Canty's face changed at all, it was a whit the paler as he met\nthe Old One's eyes. \"I say,\" he replied, \"that since we have fish on", "The Old One, standing beside Captain Candle, had watched the light to\nthe last. \"It is a bitter grief to bear,\" he said, \"for they were seven", "\"Well,\" cried the Old One in a voice that seemed as full of wonder as\nof wrath,--they heard him plainly,--\"what in the Devil's name mean ye\nby this?\"", "The Old One's own men chuckled at the cook's blank face and the boy\nshivered when he thought that he must wait on them all, of whom one was" ], [ "\"Why, that,\" he said, \"beës the frigate they call Rose of Devon.\"\n\n\"The Rose of Devon--nay, she cannot be the Rose of Devon!\"", "They found lying at the quay the vessel they sought, and a brave\nfrigate she was, with high poop and nobly carved fiddlehead and sharp,", "THE DARK FRIGATE\n\n\n\n\nCHAPTER I\n\nFLIGHT", "THE DARK FRIGATE", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "of gold!\" Some, in a boat, carried out an anchor and others laboured\nat the capstan. The old frigate stirred uneasily and slipped away from", "brave men. A master could desire no better mariners. 'Tis the end of\nthe Blue Friggat from Virginia, bound for Portsmouth, wanting seven\nweeks.\"", "There was a great bustle in the old frigate, for work was to be done\nthat needed many hands. Some went to the wreck to save masts and spars,", "The frigate _Rose of Devon_ rescues from a wreck in mid-ocean twelve\nmen who show their gratitude by seizing the _Rose_, killing her captain", "And now the voice came again over the restless sea. \"Our ship is the\nPorcupine ketch and our quills are set.\"", "Slipping through the hatch, the cook drew a great breath and sat him\ndown by the table. \"She was the Blue Friggat, I hear, and seven weeks\nfrom Virginia--God rest the souls of them who went down in her!\"", "Such a ship as the Rose of Devon frigate, standing out for the open\nsea, is a sight the world no longer affords. Those ships are \"gone,", "\"I am Philip Marsham, late boatswain of the Rose of Devon frigate. I\ncame to learn from what country this ship had sailed and to ask for", "back to their dark frigate, with their labour for their pains. And so,\nby broad daylight, weary and hungry and too angry for civil speech,", "accompanying her, in the hands of a prize crew, the Rose of Devon\nfrigate. There, bundling certain unhappy gentlemen of fortune out of", "\"His name?\"\n\n\"'Tis Candle.\"\n\nMartin laughed boisterously. \"A bright and shining name! But I know him\nnot and will chance a singeing. What voyage does she make?\"", "\"Then we shall like enough be hanged; but thou art a tall fellow and I\nlove thee for it.\"\n\nThere came over the water a voice distinctly calling, \"Whence your\nship?\"", "Charles Winterton of the King's navy himself boarded the dark frigate\nby starlight, and a capital lark he found it, for behind his stern mien", "From the quarter-deck a clear voice, so sharp that it pierced the noise\nof the storm, was calling, \"Port the helm! Ease her, ease her! Now up!\nHard up! Ease her, ease her!\"", "THE END\n\n * * * * *\n\n\n\n\n THE DARK FRIGATE" ], [ "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "The captain's eyes searched his face. \"I sent for you,\" he said,\n\"because I was minded to make you my boatswain. But now, if my mate\nwere lost, I swear I'd seat you at mine own table.\"", "came upon Phil Marsham by the quarter-deck ladder and gave a great\nstart. As Phil turned, the fellow whispered, \"God be thanked it is", "It was Will Canty, the youth who had already won the young boatswain's\nliking, spoke thus. He was a comerado more to Phil's taste than was", "When Phil turned away, old Jacob cleared his throat.\n\n\"Boatswain--\"\n\n\"Yea?\"\n\n\"Do not hurry.\"", "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "The men sitting here and there on deck stirred and looked at one\nanother; but Philip Marsham leaped to his feet.\n\n\"Sit down, lad,\" said the carpenter.", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "So Phil waited; and the broad hat that hung on the bulkhead scraped\nbackward and forward as the ship plunged into the trough and rose on", "Then Philip Marsham took the fate of the Rose of Devon in his hands and\nleaned out over the quarter-deck gun. \"Holla, there!\" he called, but", "And now three men who had been sitting by the mainmast rose. They were\nlooking toward Phil and the carpenter, and one of them slowly walked\nthither.", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "It was Philip Marsham, for to him the sea was home and there was no\nnight so dark he could not find his way about a ship. Nor did his\npromptness escape the sharp eye of Captain Candle.", "Phil raised his head and renewed his hold, for he could not cling there\nforever; yet how to introduce himself on board the ship was a question", "The other gave a grunt of disgust.\n\n\"Nay, it is a wonder to me that a lad with your nice notions ever found\nhis way to sea,\" Phil retorted.", "The captain leaned back and half closed his eyes while Phil spread the\npaper and dipped the quill.", "vast bloodshed and plunder, and thus they stormed about the deck at\nintervals until an hour after sunrise, when Phil from the forecastle\nand Old Jacob from his corner under the quarter-deck, having observed", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "For on the yardarm Phil had drawn dirk and cut at the snarl of ropes,\nwhere a chance ball had wrought much mischief. Then, as the two vessels", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war." ], [ "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "Then the Old One's voice, rising to a yell, called, \"Stand back! Stand\noff! Now, my hearts!\"", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "\"Yea.\"\n\n\"That is the Old One, and Tom Jordan is his proper name.\"", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "The Old One smiled and reached for a musket, and the poor fellow, his\nface streaked with gore, was overcome by the greater terror and fled", "the ground. Indeed, the Old One had intended to kill him, and had he\nnot been so weary, he would doubtless have stayed to complete his work,\nfor his temper was torn to rags.", "\"Of the sea,\" cried the Old One in a voice so like thunder that a man\nwould not think it could have come from his lean throat. \"Run out", "He died in the Old One's arms, for the Old One caught him before he\nfell, and held him thus.\n\n\"Well done,\" the Old One said to his man.", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "The Old One then smiled, for he was no man to drive a nail with a\ntwo-hand sledge. But although he changed his manner as fast and often", "\"Gone?\" quoth the Old One. His face, as the starlight revealed it, was\nnot for the reading, but despite him there was something in his voice\nthat caught the attention of the men.", "fortune.\" His thin face, as he lifted his brows and slightly smiled at\nhis host, settled into the furrowed wrinkles that had won him the name\nof the Old One.", "The fellow opened the door and peeped in and found the Old One sitting\nalone at the table. Glancing hastily about, and the more alarmed to", "The Old One looked about and nodded. \"True,\" said he. \"There is no\nrecovering the boat and darkness is upon us. Let us go as near to", "The fellow's manner betrayed his cowardice and the Old One pushed the\npoint of a knife against his breast. \"If again you stray or loiter,\"\nhe whispered, \"this blade will rip you open like a hog fat for the\nkilling.\"", "The Old One looked back at the lad and there was, for the first time,\ndoubt in his glance. He stood for a while pondering in silence all that", "The Old One went aft. The ship rolled drowsily and the watch nodded.\nSurveying her aloft and alow, as a man does who is used to command, and\nnot as a guest on board might do, the Old One left the deck.", "The Old One's own men chuckled at the cook's blank face and the boy\nshivered when he thought that he must wait on them all, of whom one was", "\"And when you came on deck he was gone.\" The Old One tapped the rail.\n\"You have booklearning. Can you navigate a ship?\"\n\n\"I can.\"" ], [ "Phil was of a mind to call after them, to pursue them, to flee with\nthem; but as it is easy to understand, there were strong reasons", "At the sound of steps, Phil drew back and hung over the water on the\ngreat stern of the ship.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "second time and turned very hastily round. Straightway seizing Phil by\nthe arm he whispered hoarsely, \"Come now, we must hie us away again,\nand that speedily.\"", "\"Jacob!\" Phil cried once more, and sent his voice out far across the\nwater. But there was still no answer. Jacob had gone.", "So Phil waited; and the broad hat that hung on the bulkhead scraped\nbackward and forward as the ship plunged into the trough and rose on", "The other gave a grunt of disgust.\n\n\"Nay, it is a wonder to me that a lad with your nice notions ever found\nhis way to sea,\" Phil retorted.", "Phil, already nearly asleep, stirred and roused up. \"Any port in a\nstorm,\" he mumbled. Then, becoming wider awake, he asked, \"What is all", "struggle up to the black night above. But as Phil saved himself he saw\nMartin cowering by a gun and striving to reach the breeching; and as", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "His mouth worked nervously. \"I must be off, I must be off. There they\nare again, and the last time I thought I should perish ere I got free", "their ship hath time to flee! See! There they go! Yea, and there go we!\"", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "gulled, and that to reveal the truth would fix upon him the lasting\nridicule of his shipmates. He swelled in fury and gave them angry", "Phil rose.\n\n\"Go then, Master Boatswain. But stay! You and your comerado make a\nstrange pair. How came you bedfellows?\"", "her erstwhile chase, the old ship ran away in the night. With her\nlights out and all the sail spread that she could carry, and favoured\nby clouds and fog, she made good her escape; but there was grumbling", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "Laying his elbows on the rail, Phil thrust his hands through his hair\nand bit his two lips and stared at the distant shore of Cuba. He feared" ], [ "about him which made Phil believe he was inwardly laughing, and Phil\nhad an instant liking for the man, which, if one might judge by the\ncaptain's glance or two, was returned.", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "\"I am Philip Marsham, late boatswain of the Rose of Devon frigate. I\ncame to learn from what country this ship had sailed and to ask for", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "came upon Phil Marsham by the quarter-deck ladder and gave a great\nstart. As Phil turned, the fellow whispered, \"God be thanked it is", "\"How now,\" cried Martin when Phil passed him on the deck. \"Art thou\ncalled before the mast?\" And he laughed till he shook.\n\n\"Nay, he hath made me his boatswain.\"", "It was Philip Marsham, for to him the sea was home and there was no\nnight so dark he could not find his way about a ship. Nor did his\npromptness escape the sharp eye of Captain Candle.", "The captain leaned back and half closed his eyes while Phil spread the\npaper and dipped the quill.", "\"True, and with every man lying by the side of his gun, where they\nshall not see him until we haul up the ports and show the teeth of\nthe good ship.\" It was Jacob who spoke thus as he climbed to Harry\nMalcolm's side.", "of Admiralty. The fellow made a great story of it, yet kept within a\nbowshot of the truth; but he was a villain of mean spirit and, though", "\"Say to Captain Candle that thou and this handsome young gentleman who\nsays so little are come from the Mersey, where thy vessel, the Pride o'", "\"Yea, Martin, it touches the heart of your old captain to see with what\npleasure you receive him.\"\n\n\"Th' art a cunning devil,\" Martin muttered, and babbled oaths and\ncurses.", "\"And shall we knock out the ports and loose the tacklings?\" another\nasked.\n\n\"Be still! Jacob, Jacob!\" Phil cried, running up on the quarter-deck.", "The men sitting here and there on deck stirred and looked at one\nanother; but Philip Marsham leaped to his feet.\n\n\"Sit down, lad,\" said the carpenter.", "\"Come, strike your flag. Have an end of all this talk,\" a distant voice\ncalled. Whereat Philip Marsham, who knew the voice, thought that though\ntheir audacity cost him his life it was in its own mad way superb.", "They bickered and wrangled and cursed, and one whispered to Philip\nMarsham that if they had an abler captain their luck would turn, which\nwas a great folly and cost him a broken head.", "\"This for thy whining, though: we shall play upon him lightly. Some are\nnot worth troubling over, but this lad is a cunning rogue and hath book\nlearning.\"\n\n\"Came you in search of this ship?\"", "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "Then Philip Marsham took the fate of the Rose of Devon in his hands and\nleaned out over the quarter-deck gun. \"Holla, there!\" he called, but", "They stepped under the poop and Martin doffed his hat, having assumed\nhis most ingratiating smile. \"An it please you, sir,\" said he, \"have I\nthe honour to address Captain Candle of the Rose of Devon frigate?\"" ], [ "\"Of these fourteen prisoners at the bar of justice, my lord, we find\none and all guilty of the felonies and piracies that are charged", "who contrived the plan for killing Captain Candle and taking the Rose\nof Devon. Yea, they called me apart on the forecastle and tempted me to\nsin and forced me with many threats. He it was--\"", "gulled, and that to reveal the truth would fix upon him the lasting\nridicule of his shipmates. He swelled in fury and gave them angry", "His Lordship frowned and the proctors shook their heads; the prisoners\nsighed and breathed more freely. The tale was at an end, and bearing\naway with him his smell of pitch and tar the fellow returned to his\nplace.", "Never again did he see their faces, but he heard long afterward of how,\na week from the day of their trial, they went down the river to Wapping", "In the fullness of time, the Lord High Admiral of England, \"who holds\nhis court of justice for trials of all sea causes for life and goods,\"", "\"You have reached with due and faithful care a verdict in this matter?\"\nquoth His Lordship.\n\n\"We have, my lord.\"\n\n\"You will then declare your verdict to the Court.\"", "falling as fast as ever, though a man whose life is weighing in the\nbalance can scarcely believe it; so at last the jury made an end of its\nwork, which after all had taken little enough time in consideration of", "What could a man reply? Although there had been complaining and revolt\nbefore, the Old One again held the ship in the palm of his hand, for\nthey feared his irony more than his anger.", "\"I would have given my life sooner than let this happen,\" he said.\n\"There are seven men left on board our ship, who trusted me to save", "asked him about affairs on board the Rose of Devon that concerned the\nothers and not him, he replied that each man must tell his own tale and\nthat though he swung for it he must leave the others to answer those", "A rumble of laughter issued, then the Old One's voice, \"Lay him here\nin the steerage and shackle him fast to the mizzen. He may well be\nthankful that I am a merciful man.\"", "on the head and a burial over the side was the kindest treatment he\ncould expect of them. And if not--the gallows loomed beyond a Court of", "The Old One had made his last blunder. He had come by night, thinking\nto board a peaceful merchantman laden with a rich cargo, and had found\nhimself at the head of his score of men on the deck of a man-of-war.", "follow it, she will be dulled for ever after. So, master, a man! Yea,\nand a ship.\"", "The man who had killed him took the whipstaff and called softly,\n\"Holla, master! We hold the helm!\" then from his place he heard a\nsailor cry out, \"The mate is falling! Lend him aid!\"", "and shivered and dared not look the jury in the face. The carpenter\nwept and Martin Barwick was like a man struck dumb and Paul Craig kept\nworking his mouth and biting at his lips.", "Of the three who leaned over the packets of powder, old Jacob was the\nonly one who bore with even temper the sad reverse of the night before;\nfor master and mate glared at each other in such wrath as had thrown a\nshadow over every soul in the ship.", "\"Three men, say you? Speak on.\" The Old One leaned back and folded his\narms, and though he smiled, he listened very carefully to the story the\nboatswain told.", "Then the jury, weighing all that had been said, put together its twelve\nheads, while such stillness prevailed in the court that a man could" ], [ "The Old One looked Phil frankly in the eye and smiled. \"In faith, I\nhad a rare game that day with Martin, whose wits are but a slubbering", "The Old One and Harry Malcolm then exchanged quick glances, and Jacob\nshut his small mouth tight and knotted his brows.\n\n\"Well,\" cried Phil, \"would you charge me with theft?\"", "He died in the Old One's arms, for the Old One caught him before he\nfell, and held him thus.\n\n\"Well done,\" the Old One said to his man.", "\"Go on.\" The Old One, grinning coldly, leaned back and watched the\nlabouring cook, who wracked his few brains to make a worthier story.", "to know. I have hopes that some day you'll be one of us, Phil my lad,\nand some day I'll tell you more. As for the Old One, it very curiously", "Some were pleased, but some doubted still, which the Old One\nperceiving, for he read their faces, cried, \"Nay, speak up, speak up!\nLet us have no fair-protesting friends with hollow and undermining\nhearts.\"", "Old One, he saw, to his wonder, that the Old One was smiling as calmly\nas before: truly the man was a marvel of unconcern and a very cool and\ndesperate rascal.", "The Old One laughed. \"Thy stomach is exceeding queasy,\" he said. \"Come,\nlet us heave him over the side.\"", "\"Why,\" quoth the Old One, \"you have sat in Mother Taylor's kitchen and\nheard talk of the gentlemen. You know too many secrets. Unless you are\none of us--\" He finished with a shrug.", "Then the Old One's voice, rising to a yell, called, \"Stand back! Stand\noff! Now, my hearts!\"", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "would thus have summoned. But although Philip Marsham, it seemed, had\ntaken the Old One's eye and won his heart long before on the little", "The Old One's eyes leaped from man to man and his cold voice cut\nthrough the noisy riot of drunken mirth. \"I had said Will Canty was a", "words. But Will Canty met Phil's eyes and there passed between them a\nlook that made the Old One frown, for he was a man who saw everything.", "The fellow's manner betrayed his cowardice and the Old One pushed the\npoint of a knife against his breast. \"If again you stray or loiter,\"\nhe whispered, \"this blade will rip you open like a hog fat for the\nkilling.\"", "\"There is sooth in thy words,\" quoth the Old One, and he smiled in\nfriendly wise. (But despite his smile, he liked the words little, as", "\"That for thy prattle,\" the Old One cried, for he had been walking just\nbehind. And with a club he struck the fellow a blow that sent him to", "\"Yea.\"\n\n\"That is the Old One, and Tom Jordan is his proper name.\"", "The cook shot a doubting glance at the Old One, but went none the less,\nand came back wiping his lips.\n\n\"Have at thy tale,\" said the Old One.", "\"Some one,\" said the Old One, lingering over each word, \"hath wrought a\nclever plot against us.\"\n\n\"Say on, say on!\"" ], [ "\"So, 'tis thou,\" she sneered. \"I thought as much. Well--\" she suddenly\nstopped, perceiving Phil, who stood nearly out of sight in the shadow.\n\"Who is that?\" she asked.", "\"Ah-h-h!\" he breathed. \"God be praised, he's gone!\" He made the sign of\nthe cross, then cast a sharp glance at Phil to see if he had noticed.", "He got up from his chair and led Phil to a kind of bed in the darkest\ncorner, behind the forge, and covered him and left him there. Going to\nthe door he looked out into the rain and stood so for a long time.", "Phil looked him in the eye and felt his heart sink, but he was no\ncoward. \"I do,\" he replied.", "To Phil she said nothing but her glance held him, and he whispered, \"I\nwill come back and marry you.\"\n\nShe smiled.\n\n\"You will wait for me?\" he whispered, and kissed her.", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "Thereupon Martin posted in all haste back the way he had come and Phil,\nof no mind to be left now, since they had journeyed together thus far,\nfollowed at his heels with a curiosity that he was intent on satisfying.", "Phil had thrown back at the burly knight. Martin bought food with it\nand Phil, though he thought it would have choked him, helped him eat\nit; and so they survived the day.", "second time and turned very hastily round. Straightway seizing Phil by\nthe arm he whispered hoarsely, \"Come now, we must hie us away again,\nand that speedily.\"", "Some gave one defense and some another; and meanwhile there was much\nlegal talk, dry and long and hard to understand. And so at last they\ncalled on Philip Marsham to rise and speak for himself if he had\nanything to say in his own defense.", "The man looked hard at him as if suspecting some trickery; but when\nPhil was about to press on without a word the man asked in a low voice,", "\"I am thy man!\" the fellow cried. The stains on the deck had made him\nsurpassingly eager, and his one eye winked and his beard wagged, so\neager was he to declare his allegiance.", "locked to a longer chain, crawled over to where Phil lay and very\ncraftily tried to kill him with bare hands. The guard cried out, but", "Phil was of a mind to call after them, to pursue them, to flee with\nthem; but as it is easy to understand, there were strong reasons", "\"I have seen his kind before,\" a voice said low in Phil's ear. \"But\nthough there be much of the calf in him, beware lest you rouse him to\nsuch a pitch that he will draw and strike.\"", "Phil lay meditating on the queer fate that had placed those words in\nhis mouth. \"Who,\" he said at last, \"is this Sir John?\"", "fellow's middle sorely distressed him. As they swayed back and forth\nthe keeper suddenly seized Phil's head over his own shoulder and rose", "With that, he set out again but at an ordinary pace, and Phil,\nwonderfully perplexed by his words, fell into his step.", "After a long time the master turned about and walked into the cabin\nand, there espying Philip Marsham, he smiled and said, \"I was remiss. I\nhad forgotten you.\" He threw aside the cloak that lay on the chair and\nsat down." ], [ "So to the inn Phil came in due time, having meditated much, meanwhile,\non the talk of the King and war and the rights of Parliament, which was", "Philip Marsham went to the war with Sir John Bristol, and fought for\nthe King, and rose to be a captain; and with the story of Philip", "until Phil himself heard one crying, \"Nay, nay, he's a true lad. 'Tis\nonly he hath a liking for the fellow.\"", "the fields of Naseby and Newbury, and of many another great battle;\nfor he was the King's man, and great houses of the country had fallen,", "Philip Marsham had heard the men of the Rose of Devon go into battle\nwith cries and shouting, and laugh when they killed; he had seen old", "\"It seems thy brother, of whom we were to have got so much, bears thee\nlittle love.\" And Phil smiled.\n\nFor this Martin returned him an oath, and sat upon a stone.", "Newbury with his head on Philip Marsham's knees; and in his grief at\nlosing the brave knight who had befriended him, the lad prayed God for\nvengeance on the Roundhead armies.", "Phil hesitated, for though they had talked freely, as young men will,\nthe question searched a side of Phil's life to which as yet he had", "She looked at Phil, who had learned long before to hold his tongue in\nstrange places, and he smiled; but Martin laughed hoarsely. \"Th' art", "After a while, he cocked his head upon one side; and quoth he, \"I hear\nthem calling and shouting! It seemeth they are singing huzza for me.", "an English lad, Philip Marsham, a member of the original crew of the\n_Rose_, is acquitted; and he, after adventures in the forces of King", "Again Phil smiled. \"Hast thou never,\" he said in a quiet voice, \"heard\nthe man at the mainmast cry, 'A liar, a liar!' and for a week kept", "Then Jacob came out of his corner and spoke to Phil. \"I will watch\nfirst,\" said he. \"The cook hath laid a fine supper on the cabin table.", "Now a man in stocks was a pleasing sight to Phil, for he was not so old\nthat he missed the humour of it, and he paused to grin at the unlucky", "of the King was lost, and the day broke when Philip Marsham was ready\nto turn his back on England.", "The years that followed were wild and turbulent, but during their\npassage Phil chanced upon one reminder and another of his earlier days", "To this, Phil made effective reply by dropping the cudgel and dodging\npast the keeper to catch him round the waist from behind (for his arms,", "who had started up. Although Phil had little wish to play hare to their\nhounds, since the fever had left him fit for neither fighting nor\nrunning, there was urgent need that he act soon and to a purpose, for", "Phil took umbrage; but the fellow cried Nay, that he would fight no\nsuch keen blade, who was, it seemed, a better man than he looked. And", "\"See!\" cried Phil, catching Martin by the arm. \"Here's a game. Come,\nlet us join the cry.\"" ] ]

[ "What is Phil's crew position on the Rose of Devon?", "How does Phil become a member of a pirate crew?", "Phil attempts to escape from the pirate ship, but is then captured by whom?", "What finally convinces Phil to attempt to escape the pirates?", "What is the penalty for being found guilty of piracy?", "Who stands up for Phil at his trial?", "Whom does Phil serve after he is acquitted of charges?", "What war does Phil serve in, and on which side?", "Where is the last place Phil travels?", "What led Philip Marsham to leave London?", "What ship surprised Phil with its' appearance in Bideford?", "Why was Phil made a boatswain?", "What work does Mother Taylor do?", "Who is Will Canty?", "What is the Old One's real name?", "On what side of the battle does Sir John Bristol serve?", "Whose forces did Bristol fight?", "What happened to Phil at trial?", "Why did Phil refuse to testify against the pirates?", "How old is Philip Marsham when the story begins?", "What cause Philip to be Orphaned?", "Who was the Old One?", "Mother Taylor arranges for Phil and Martin to have positions on what frigate?", "Though the Old One had claimed to be a fellow sailor when meeting Phil, What was he really?", "What position did the Old One allow Phil to keep in order to try to convince him to be a pirate?", "What happens to Will Canty when he tries to escape and get help?", "What happens to Phil when he encounters the British ship after he escapes from the pirates?", "What ended up saving Phil from execution during the trial?", "When going to the docks to once again leave Phil acquires passage on the Rose of Devon once more, What was their destination?", "What is the Old One's real name?", "What is the name of the frigate?", "What position is Phil promoted to onboard the frigate?", "What is the Old One's true profession?", "Why does Phil finally flee the ship?", "What does the captain of the British Warship believe Phil to be?", "What is to be the punishment of the crew after the trial?", "Why does the Old One testify on Phil's behalf?", "After the trial, who does Phil approach with an offer of servitude?", "Which side is Phil on during England's civil war?" ]

[ [ "Boatswain", "A boatswain" ], [ "The Old One captures the Rose of Devon and kills the captain, and the RoD crew joins the pirates to survive.", "His ship is captured by the Old One's pirate crew." ], [ "The British Navy", "A British war ship" ], [ "His friend Will is executed.", "his best friend was killed, Will Canty, by pirates" ], [ "Hanging", "Death by hanging." ], [ "The Old One", "The Old One" ], [ "Sir John Bristol", "Sir John Bristol" ], [ "English Civil War, the Royalists", "Phil is a Royalist in the English Civil War" ], [ "The Barbados", "The docks at Bideford. " ], [ "A gun accident.", "He has an accident with a gun" ], [ "The Rose of Devon.", "The Rose of Devon." ], [ "The previous boatswain was killed..", "the old boatswain was killed in an accident" ], [ "She is a nexus for illegal activities.", "legal mediator" ], [ "Phil's friend on the pirates' ship.", "The other member of the Rose of Devon who is against piracy" ], [ "Tom Jordan", "Tom" ], [ "The Royalists", "The Royalists" ], [ "Oliver Cromwell's forces.", "the forces of Oliver Cromwell" ], [ "He was acquitted.", "He's acquitted" ], [ "He held his shipmates in honor.", "Because they had been his companions. " ], [ "He is 19 years old.", "19" ], [ "His father's ship was lost at sea.", "His father is lost at sea in a shipwreck" ], [ "Tom Jordan.", "Tom Jordan." ], [ "The Rose of Devon.", "Rose of Devon" ], [ "A pirate.", "He was a pirate." ], [ "A boatswain.", "Boatswain" ], [ "The pirates recapture him and torture and kill him.", "Canty is tortured and killed." ], [ "He is arrested along with the other pirates and sent to England for trial.", "The British think he is lying and is a pirate spy, so he is arrested" ], [ "The Old One's testimony at his trial.", "Old One's testimony " ], [ "The colonies of Barbados.", "To the colonies in Barbados." ], [ "Tom Jordan", "Tom" ], [ "Rose of Devon", "The Rose of Devon" ], [ "boatswain", "Boatswain." ], [ "he's a pirate", "Pirate" ], [ "he sees his friend murdered ", "he flees because his friend was killed, last straw for him." ], [ "a pirate spy", "capable" ], [ "hanging", "Execution" ], [ "he is impressed by Phil's refusal to testify against his crew", "Because Phil was courageous and honorable and because he knew the truth that Phil never joined the Pirates " ], [ "Sir John Bristol", "Sir John Bristol." ], [ "the Royalists", "The Royalists." ] ]

[ [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "The camera pans inside Paul's corridor, where Mrs. House's body,\n completely covered by a white sheet, is lying dead on a stretcher\n with the doctor and the emergency medical team around her.", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "LARRY (voice over)\n Oh, my God ! It's Mrs. House's body !", "She was right here. She was lying, like, right this-a-way.\n \n LARRY (voice over)\n Yeah, she was definitely laying here.", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "CAROL\n Right. Yeah. You saw her lying there, right ?\n \n JACK\n Yes, she was lying on the floor.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "several mirrors. She stops and looks at Paul's body lying on the\n floor.", "LARRY\n We just saw her there. She's lying on the floor.\n \n CAROL", "Look, look !\n \n The camera pans to the thing Carol was pointing at. A body, half-\n wrapped in a white sheet, is being lifted by a huge electromagnet." ], [ "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "reluctantly by Larry.\n \n The camera pans around during Carol's next line, and we see Carol\n entering Lilian an Paul's apartment.", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "LARRY\n Yeah. I mean, so, we...\n \n In the background, behind Larry, we see Carol and Lilian entering", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "one step in Larry's direction.\n \n LILLIAN\n Oh, uh, say, hello ?", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "Well, anyway... good night.\n \n Larry and Carol walk away from Lilian and Paul, who remain near\n the elevator.", "LILLIAN\n Wonderful book they've given me. Now I'm at level five.\n \n CAROL (voice over)" ], [ "The small disused dressing-room in the corner of the backstage.\n Paul is talking into the telephone. In front of him, Carol is tied", "on a chair, with a white cloth gag taped on her mouth. While Paul\n is talking, the camera zooms on Carol's frightened face.\n \n PAUL", "PAUL\n Yes.\n \n CAROL (voice over)", "The camera pans back to Carol, hiding in the kitchen, then back to\n Paul.\n Paul opens both his hands in a gesture of despair : apparently, he", "PAUL (voice over)\n Oh, come on, there's nobody around.\n \n We hear moaning and kissing sounds.", "getting away from Paul, who fires his gun. But, apparently, Larry\n is not hit by the gunshot, because he runs toward the back\n entrance of the movie house. The camera follows him.", "I got her in the trunk of my car.\n \n PAUL\n Open it. Come on, now.", "Paul is holding the gag in front of Carol's mouth with one hand\n and the telephone with the other hand.\n \n PAUL", "LARRY\n I... I got her.\n \n PAUL", "PAUL\n I'll get that. Uh, you go and call him.\n \n Paul walks out of the room.\n GLADYS", "The camera remains at the same spot, and we see Paul in the\n living-room, still looking for whatever he is missing. He walks\n out of the living-room through the kitchen.", "The camera zooms on Paul. He has almost crossed the street, but he\n suddenly stops a few feet from the next sidewalk. He feels his\n jacket : apparently he has forgotten something in his apartment.", "PAUL\n Goodnight.\n \n He walks away toward the entrance of the building, still smiling a", "Paul takes the gag off Carol's mouth and put the phone mouthpiece\n in front of her lips.\n \n CAROL (CRYING)", "Back to Paul sitting on the bed. He puts the phone down on its\n hook, stands up and starts walking out of the room.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "Paul's assistant. She is walking with the help of a cane.\n \n PAUL (voice over)", "Larry takes something in the trunk, then closes it back, but the\n door of the trunk doesn't close well and opens again. Larry walks\n back to Paul and shows him what he's got in his hand.", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "CAROL\n That's right. Of course, so...\n \n She turns toward Paul, who has remained very calm." ], [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "LARRY (voice over)\n Oh, my God ! It's Mrs. House's body !", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "House. Yes, Mrs. House. Yeah. Mrs... the murdered woman.\n That's right.\n \n Larry opens the red wine bottle and pours some wine in his glass.", "he kills Lillian. He cremates her, or pours molten steel\n all over her or something... and, uh, that's when we came\n along and tripped him up.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "The camera pans inside Paul's corridor, where Mrs. House's body,\n completely covered by a white sheet, is lying dead on a stretcher\n with the doctor and the emergency medical team around her.", "So that's where he hid her.\n LARRY\n Oh, Jesus. Claustrophobia and a dead body. This is a", "I just saw Mrs. House.\n LARRY (voice over)\n What are you talking about ? The ashes ?\n \n CAROL", "cauldron. Among the metal scraps, we see Mrs. House's body\n \n CAROL\n Oh, my God.", "How did you know it was her, for Christ's sake ? They were\n ashes. What, did they resemble Mrs. House ?\n \n He walks into the living-room.", "LARRY\n Oh, Jack ? Jack ? You-you were there when Mrs. House died,\n right? You saw her ?", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "The camera zooms to a close shot on the cauldron.\n \n LARRY (voice over)\n Good bye, Mrs. House.", "But you-you remember that you heard a noise that night.\n That had to be Mrs. House leaving to check into the hotel.\n \n CAROL", "LARRY (voice over)\n The super says he saw her, but, uh, he's a drunk, you know.\n Mrs. House could have been hiding.", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife." ], [ "LARRY (voice over)\n Oh, Jesus.\n \n The camera tilts back down to street level. Larry and Carol are", "Would you really ? Oh, that would be so great. You'd just\n run a check on Paul and Lillian House.\n \n Larry stands up and walks toward Carol.", "CAROL\n No, really ?\n \n The camera moves around, away from Larry and Carol, to Paul.", "very much like Paul.\n \n The camera pans around to give us a reverse-angle medium shot of\n Carol and Larry coming out of the basement of the hotel. They", "PAUL\n Oh, no. We had... very few friends, no family.\n \n The camera moves closer to Larry and Carol.\n CAROL", "PAUL\n This is Larry and Carol, my neighbors.\n \n CAROL\n Yes.", "LARRY\n ...expensive.\n \n Carol walks toward the elevator and Larry follows her.", "LARRY\n Where's Carol ?\n \n PAUL\n All the...", "LARRY\n Quick, quick. Dial, dial, dial.\n \n He picks up the telephone, and Carol, whose hands are now", "Larry.\n \n LARRY (voice over)\n What ?\n \n CAROL", "PAUL\n Did you do it ?\n Larry closes the door behind him.\n \n CAROL", "PAUL\n Yes.\n \n CAROL (voice over)", "CAROL\n Yeah.\n \n LARRY\n Jesus.", "LARRY\n Where's Carol ?\n \n Paul walks toward the car. He's got a gun in his hand.", "LARRY\n You seem shocked.\n \n CAROL\n Well...", "Carol and Larry both look very nervous. Carol takes the glasses\n from Paul's hand.\n \n LARRY", "LARRY\n Oh, Christ. Not that again. Please, you know...\n \n CAROL", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "Larry, Larry, help me ! I'm here, Larry !\n \n Paul puts the gag back on Carol's mouth", "CAROL\n Five. Only five.\n \n LARRY" ], [ "PAUL\n Yes.\n \n CAROL (voice over)", "The small disused dressing-room in the corner of the backstage.\n Paul is talking into the telephone. In front of him, Carol is tied", "Paul takes the gag off Carol's mouth and put the phone mouthpiece\n in front of her lips.\n \n CAROL (CRYING)", "The camera pans back to Carol, hiding in the kitchen, then back to\n Paul.\n Paul opens both his hands in a gesture of despair : apparently, he", "on a chair, with a white cloth gag taped on her mouth. While Paul\n is talking, the camera zooms on Carol's frightened face.\n \n PAUL", "CAROL\n That's right. Of course, so...\n \n She turns toward Paul, who has remained very calm.", "Paul is holding the gag in front of Carol's mouth with one hand\n and the telephone with the other hand.\n \n PAUL", "LARRY\n Where's Carol ?\n \n Paul walks toward the car. He's got a gun in his hand.", "shot of the back of Carol's head. The door opens on Paul.\n \n CAROL", "CAROL\n Well, okay.\n \n PAUL\n This is unbelievable.", "CAROL\n Oh, oh well that'd be fine...\n \n PAUL (voice over)", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "Paul takes the tray from Carol's hands.\n \n PAUL\n I love it. Come on in, come on in.", "PAUL\n Well, thank you.\n \n CAROL\n I thought I'd-I'd give you, you know, another shot at", "Carol and Larry both look very nervous. Carol takes the glasses\n from Paul's hand.\n \n LARRY", "Paul starts opening his apartment door, just across the hallway\n from the elevator.\n \n CAROL (voice over)\n Huh ? Yeah ?", "Would you really ? Oh, that would be so great. You'd just\n run a check on Paul and Lillian House.\n \n Larry stands up and walks toward Carol.", "CAROL\n No, really ?\n \n The camera moves around, away from Larry and Carol, to Paul.", "PAUL\n Good night.\n \n CAROL\n Good night.", "CAROL\n Oh, my God. Oh, my God.\n \n Paul and Gladys Dalton, Paul's assistant at his movie house, are" ], [ "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "She has a heart attack. She drops dead spontaneously.\n They had no thought of killing her. Maybe they wished she\n was dead.", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "Hey, listen. She was not murdered. She... she had a heart\n attack. It was a coronary. There was a doctor there. He\n said to.... He was an old man.", "LARRY\n You seem shocked.\n \n CAROL\n Well...", "because it was just taking up too much space.\n LILLIAN\n Oh, it-it-it...\n \n LARRY", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa.", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN" ], [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "The camera pans inside Paul's corridor, where Mrs. House's body,\n completely covered by a white sheet, is lying dead on a stretcher\n with the doctor and the emergency medical team around her.", "LARRY (voice over)\n Oh, my God ! It's Mrs. House's body !", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "CAROL\n Right. Yeah. You saw her lying there, right ?\n \n JACK\n Yes, she was lying on the floor.", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "She was right here. She was lying, like, right this-a-way.\n \n LARRY (voice over)\n Yeah, she was definitely laying here.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "several mirrors. She stops and looks at Paul's body lying on the\n floor.", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "How did you know it was her, for Christ's sake ? They were\n ashes. What, did they resemble Mrs. House ?\n \n He walks into the living-room.", "LARRY\n We just saw her there. She's lying on the floor.\n \n CAROL" ], [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "TALL NEIGHBOR\n Sh-She's dead.\n \n The camera turns around to show us inside the apartment. There is", "LARRY (voice over)\n Oh, my God ! It's Mrs. House's body !", "The camera pans inside Paul's corridor, where Mrs. House's body,\n completely covered by a white sheet, is lying dead on a stretcher\n with the doctor and the emergency medical team around her.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "LARRY\n She was totally dead.\n \n CAROL\n We... She's there.", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "fake it... Pretend Lillian House died. They cremate the\n sister.\n \n The camera pans to Paul talking on the telephone.", "CAROL\n Right. Yeah. You saw her lying there, right ?\n \n JACK\n Yes, she was lying on the floor.", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "She was right here. She was lying, like, right this-a-way.\n \n LARRY (voice over)\n Yeah, she was definitely laying here.", "How did you know it was her, for Christ's sake ? They were\n ashes. What, did they resemble Mrs. House ?\n \n He walks into the living-room." ], [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "he kills Lillian. He cremates her, or pours molten steel\n all over her or something... and, uh, that's when we came\n along and tripped him up.", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "She has a heart attack. She drops dead spontaneously.\n They had no thought of killing her. Maybe they wished she\n was dead.", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "reluctantly by Larry.\n \n The camera pans around during Carol's next line, and we see Carol\n entering Lilian an Paul's apartment.", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa." ], [ "PAUL\n Yes.\n \n CAROL (voice over)", "The camera pans back to Carol, hiding in the kitchen, then back to\n Paul.\n Paul opens both his hands in a gesture of despair : apparently, he", "CAROL\n That's right. Of course, so...\n \n She turns toward Paul, who has remained very calm.", "CAROL\n No, really ?\n \n The camera moves around, away from Larry and Carol, to Paul.", "Carol and Larry both look very nervous. Carol takes the glasses\n from Paul's hand.\n \n LARRY", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "shot of the back of Carol's head. The door opens on Paul.\n \n CAROL", "Paul starts opening his apartment door, just across the hallway\n from the elevator.\n \n CAROL (voice over)\n Huh ? Yeah ?", "on a chair, with a white cloth gag taped on her mouth. While Paul\n is talking, the camera zooms on Carol's frightened face.\n \n PAUL", "LARRY\n Where's Carol ?\n \n Paul walks toward the car. He's got a gun in his hand.", "PAUL\n Did you do it ?\n Larry closes the door behind him.\n \n CAROL", "The small disused dressing-room in the corner of the backstage.\n Paul is talking into the telephone. In front of him, Carol is tied", "Paul is holding the gag in front of Carol's mouth with one hand\n and the telephone with the other hand.\n \n PAUL", "CAROL\n Well, okay.\n \n PAUL\n This is unbelievable.", "CAROL\n Oh, my God. Oh, my God.\n \n Paul and Gladys Dalton, Paul's assistant at his movie house, are", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "PAUL\n Hallo.\n \n Medium shot of Carol hiding under the bed. We notice she doesn't", "Carol walks into the kitchen from the living-room.\n \n The camera pans to Paul, looking for something on his desk. He\n looks through all the documents scattered on the desk.", "I don't think she's...\n \n The camera starts panning around the room, up to the window, then\n starts panning back toward Carol and Larry.", "Would you really ? Oh, that would be so great. You'd just\n run a check on Paul and Lillian House.\n \n Larry stands up and walks toward Carol." ], [ "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "he kills Lillian. He cremates her, or pours molten steel\n all over her or something... and, uh, that's when we came\n along and tripped him up.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "She was right here. She was lying, like, right this-a-way.\n \n LARRY (voice over)\n Yeah, she was definitely laying here.", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "fake it... Pretend Lillian House died. They cremate the\n sister.\n \n The camera pans to Paul talking on the telephone.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "because it was just taking up too much space.\n LILLIAN\n Oh, it-it-it...\n \n LARRY", "LARRY\n And yet somehow I am scared. I don't know why. Maybe\n because she's dead. You know ?", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa.", "The camera moves around backward, away from Paul and back to Larry\n and Carol.\n \n LILLIAN\n We already have twin cemetery plots." ], [ "looks around her. She walks back and forth in the hallway, before\n coming back to Paul's apartment door, just in front of the\n elevator. She opens the door with the key she has just stolen in", "The camera keeps on panning around the room.\n \n HELEN (voice over)\n Mm. Oh, Paul, I...", "Paul starts opening his apartment door, just across the hallway\n from the elevator.\n \n CAROL (voice over)\n Huh ? Yeah ?", "The camera pans back to Carol, hiding in the kitchen, then back to\n Paul.\n Paul opens both his hands in a gesture of despair : apparently, he", "She laughs, and Larry, entering the apartment behind her, utters a\n forced laugh.\n PAUL'S APARTMENT - BEDROOM - INTERIOR NIGHT", "PAUL'S MOVIE HOUSE - INTERIOR DAY\n \n Medium shot of a door leading to an emergency stair way. Helen,", "Watch your step. It's very steep. Be careful.\n \n Behind Helen, Paul is coming out of the stairway. Helen has\n stopped to look around her.", "HELEN\n Oh.\n \n PAUL\n Beautiful, huh ? Look around.", "PAUL\n Hallo.\n \n Medium shot of Carol hiding under the bed. We notice she doesn't", "Ted walks away. Helen takes a very deep breathing, sits down, puts\n her hands trough her hair, takes another breathing, and picks up", "She opens the door.\n \n PAUL'S APARTMENT - LIVING ROOM - INTERIOR NIGHT", "FLASHBACK SCENE\n PAUL'S APARTMENT - LIVING ROOM - INTERIOR NIGHT", "The small disused dressing-room in the corner of the backstage.\n Paul is talking into the telephone. In front of him, Carol is tied", "PAUL'S APARTMENT - LIVING ROOM - INTERIOR NIGHT\n \n A little later.", "The camera remains at the same spot, and we see Paul in the\n living-room, still looking for whatever he is missing. He walks\n out of the living-room through the kitchen.", "Paul's apartment. Larry walks behind her. Carol takes Paul's key\n out of her pocket and tries to open the front door. But she takes\n the wrong key on the keyring.", "PAUL'S APARTMENT - LIVING ROOM - INTERIOR NIGHT\n Paul and another woman, that looks like his wife, are seated", "several mirrors. She stops and looks at Paul's body lying on the\n floor.", "Larry picks up a metal lamp from the floor and hides behind a\n closet in front of the door with Carol behind him. The door opens\n and the cleaning lady walks in with her bucket and things. Larry", "PAUL'S APARTMENT - BEDROOM - INTERIOR NIGHT\n \n Carol enters the bedroom, followed by Larry.\n LARRY" ], [ "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "LARRY\n Yeah. I mean, so, we...\n \n In the background, behind Larry, we see Carol and Lilian entering", "elevator door slides shut. Lilian looks at Carol.\n \n LILLIAN\n I, uh, I see you at the gym sometimes.", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "Close shot on the window, in front of which Carol is seated. She\n looks at the passing bus, with a wide open mouth, and a surprised,\n almost frightened, expression on her face. She stands up a little", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "reluctantly by Larry.\n \n The camera pans around during Carol's next line, and we see Carol\n entering Lilian an Paul's apartment.", "around him as if afraid to be followed.\n \n Reverse angle shot on Carol looking at him from a distance. She\n enters her building. She smiles to the attendant on duty.", "looking around her.\n \n CAROL (voice over)\n Oh, god, yeah. Right.", "Carol reappears on the other side of the partition.\n \n LARRY (voice over)\n Never comfortable.", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "CAROL\n I...\n \n LARRY\n Maybe, look. Maybe she's a twin. That's possible. Now", "Oh, my God. It's her.\n \n The camera tilts down to floor level and Larry and Carol.\n \n CAROL", "Carol kneels down on the floor, bending on something she just saw\n on the floor. The camera follows her movement and we see a human\n hand resting on the floor, the rest of the body being hidden by", "followed by Larry, who closes the door. Carol starts looking\n around for room numbers. The camera follows them\n \n CAROL", "residence is located and another street. Carol is crossing the\n street. She stops walking while on the crosswalk. The camera zooms\n on her and we see an expression of surprise on her face.", "The street seen through the window, next to which Carol is seated,\n but we don't actually see Carol. We see a big car, followed by a" ], [ "LARRY (voice over)\n Oh, Jesus.\n \n The camera tilts back down to street level. Larry and Carol are", "LARRY\n Where's Carol ?\n \n Paul walks toward the car. He's got a gun in his hand.", "Would you really ? Oh, that would be so great. You'd just\n run a check on Paul and Lillian House.\n \n Larry stands up and walks toward Carol.", "CAROL\n No, really ?\n \n The camera moves around, away from Larry and Carol, to Paul.", "LARRY\n Quick, quick. Dial, dial, dial.\n \n He picks up the telephone, and Carol, whose hands are now", "very much like Paul.\n \n The camera pans around to give us a reverse-angle medium shot of\n Carol and Larry coming out of the basement of the hotel. They", "PAUL\n This is Larry and Carol, my neighbors.\n \n CAROL\n Yes.", "PAUL\n Oh, no. We had... very few friends, no family.\n \n The camera moves closer to Larry and Carol.\n CAROL", "PAUL\n Did you do it ?\n Larry closes the door behind him.\n \n CAROL", "Carol and Larry both look very nervous. Carol takes the glasses\n from Paul's hand.\n \n LARRY", "The camera pans around toward Carol and Larry, still running - too\n late - toward Paul's car.\n \n LARRY", "LARRY\n ...expensive.\n \n Carol walks toward the elevator and Larry follows her.", "Paul takes the gag off Carol's mouth and put the phone mouthpiece\n in front of her lips.\n \n CAROL (CRYING)", "Carols walks away, but Larry stays with the clerk. He takes a\n banknote out of his pocket.\n \n LARRY", "The small disused dressing-room in the corner of the backstage.\n Paul is talking into the telephone. In front of him, Carol is tied", "PAUL\n Yes.\n \n CAROL (voice over)", "Larry takes the handset from Carol's hand.\n \n LARRY\n Give me this. Give me this.", "LARRY\n Where's Carol ?\n \n PAUL\n All the...", "Larry, Larry, help me ! I'm here, Larry !\n \n Paul puts the gag back on Carol's mouth", "Paul is holding the gag in front of Carol's mouth with one hand\n and the telephone with the other hand.\n \n PAUL" ], [ "getting away from Paul, who fires his gun. But, apparently, Larry\n is not hit by the gunshot, because he runs toward the back\n entrance of the movie house. The camera follows him.", "Full shot of the audience watching the show. We hear music. In the\n forefront, Carol and Larry. Larry is taping his chin with the\n program. Carol turns toward Larry and starts whispering.", "MARILYN\n It starts in a little while.\n \n MOVIE THEATER - INTERIOR NIGHT", "She slams the phone down. The camera pans around to show us the\n right side of the stage, where there is several rows of theatre", "Carol and Larry run toward the place where the red light comes\n from. It is inside a huge building. But they don't go inside the\n building and, instead, keep on running along the building.", "Behind Paul, we see the film on the screen. We have now reached\n the famous last scene of the film, shot in the hall of mirrors.", "Behind Suzanne, which is the left side of the stage seen from the\n audience, a white wall, with a doorless opening. On either side of", "While Gladys and Paul are talking, the film keeps on showing on\n the screen behind them, but we do not understand the words from\n the film, because Paul and Gladys' voices are louder.", "We hear the music from Wagner's The Flying Dutchman.\n \n The camera slowly tilts down. We don't see Carol and Larry yet,", "Medium shot on the many reflections of Paul. He fires his gun\n twice. We hear noises of mirrors being broken by the gunshots,\n both in the film, and on the backstage itself.", "and Carol's friend, whom we have seen much earlier in the film, in\n the antique market and at Elaine's restaurant. The stage is well\n lit, when the audience hall is in the dark.", "runs down the stairs, while we hear the sound of the «Lady from\n Shangai». «The Lady from Shangai» is a 1947 film written, directed", "Long shot on the building. Larry and Carol are coming out of the\n building. They start running toward the camera. The camera pans", "my ears.\n \n They reach the end of the corridor, and the camera follows them as\n they run around the corner of the hallway.", "PAUL (voice over)\n Oh, come on, there's nobody around.\n \n We hear moaning and kissing sounds.", "into the bed.\n \n LARRY\n Right. Meanwhile, I can't get the-the Flying Dutchman theme", "Full shot on the screen, where a man is falling down a long slide,\n like the one used by kids on playgrounds. We hear the film music.", "the screen and, of course, the film projected on it, and in which\n the mirrors are being broken. Paul enters from behind a mirror\n frame, and falls on the floor. Gladys' reflection appears in", "the living-room, with a frightened look on her face. She walks\n away from the room. The camera spins back to the front door, which", "Oh, my god. I keep hearing noises.\n \n CAROL\n Oh. What's down there ?" ], [ "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "pink night-robe, is dressing her sister in her own clothes.\n \n MARCIA (voice over)\n She has a reasonable resemblance to her sister, so they", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "CAROL\n I...\n \n LARRY\n Maybe, look. Maybe she's a twin. That's possible. Now", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "LILLIAN\n Wonderful book they've given me. Now I'm at level five.\n \n CAROL (voice over)", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "Larry, Larry, look. It's her ! I'd say it's her !\n \n A lady carrying a white open umbrella is entering the hotel." ], [ "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "fake it... Pretend Lillian House died. They cremate the\n sister.\n \n The camera pans to Paul talking on the telephone.", "MARCIA\n So, instead of finishing the scheme they planned, he\n double-crosses her and kills her, taking her share of the\n profits.", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "he kills Lillian. He cremates her, or pours molten steel\n all over her or something... and, uh, that's when we came\n along and tripped him up.", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "But she succeeds in dialing Paul's number.\n \n LARRY\n Don't ring Mr... What are you doing ? No, don't ring...", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "LILLIAN\n Yeah.\n \n PAUL (voice over)\n We're going to Le Cirque for our anniversary.", "That's what Grisby thought. But, of course, she meant to\n kill Grisby, too. After he'd served his purpose. Poor\n howling idiot.", "PAUL\n Yes.\n \n CAROL (voice over)", "The camera moves around backward, away from Paul and back to Larry\n and Carol.\n \n LILLIAN\n We already have twin cemetery plots." ], [ "LARRY (voice over)\n Mr. House, our next-door widower ?\n \n Carol stops in front of a large mirror set on the wall in one", "LARRY (voice over)\n Oh, Jesus.\n \n The camera tilts back down to street level. Larry and Carol are", "PAUL\n This is Larry and Carol, my neighbors.\n \n CAROL\n Yes.", "LARRY\n Yeah. I mean, so, we...\n \n In the background, behind Larry, we see Carol and Lilian entering", "Full shot of the street, where Larry's apartment building is\n located. The camera is set near the entrance of the building, and\n Carol and Larry are walking toward us.", "The door of the elevator opens. Inside the cabin, Larry and Carol\n are smiling and talking.\n \n LARRY (voice over)", "While Larry is answering her, Carol opens the front door and peeks\n into the hallway.\n \n LARRY", "PAUL\n Thank you.\n \n Lilian has a broad smile when she recognizes Larry and Carol. The", "Oh, right.\n \n The camera hasn't moved, so now we get a medium shot of Larry and\n Carol. They have reached their car, and Carol walks around it to", "LARRY\n What are we...\n \n Larry has walked around the car and joins Carol on the sidewalk.", "CAROL\n Right... Yeah. Come on.\n \n Carol walks on to the sidewalk, followed by a very frightened\n Larry.", "CAROL\n You.\n \n Larry laughs. They have reached their building and they enter it.", "LARRY\n Come on, get it open.\n \n Carol succeeds in opening the door.", "LARRY (voice over)\n Hallo ?\n \n Carol enters the room, followed by Larry.", "LARRY\n Hi. Hey, I want you to meet somebody.\n \n CAROL\n What ?", "the front door. Larry and Carol are standing in the doorway. Larry\n is wearing a necktie and Carol is carrying a large tray.\n \n PAUL", "CAROL\n Okay. Okay.\n \n Larry opens the door and they walk out of the room.", "LARRY'S APARTMENT - BEDROOM - INTERIOR NIGHT\n \n Back to Larry and Carol sitting in their bed.\n LARRY", "CAROL\n Mrs. D... How are you ? Nice to see you.\n \n Carol and Larry shake hands with Gladys.", "Long shot on the building. Larry and Carol are coming out of the\n building. They start running toward the camera. The camera pans" ], [ "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "I don't know. Maybe they stood to gain if she died. They\n see a golden opportunity.\n Later. Lilian, wearing a pink night-robe, is dressing the dead", "Lilian gives a glass of wine to Paul.\n \n MARCIA (voice over)\n Her husband died. She moved back to New York recently, a", "bus. The camera zooms on the bus. Through one of the bus windows,\n we see a woman, seated inside the bus. And this woman looks very\n much like the deceased Lilian, Paul's wife.", "her over to dinner, she accidentally keels over. I guessed\n right there.\n \n Lilian's sister is lying dead on the sofa, and Lilian, wearing a", "Lilian gives a glass of wine to her sister.\n \n MARCIA (voice over)\n She changed her name when she married.", "he kills Lillian. He cremates her, or pours molten steel\n all over her or something... and, uh, that's when we came\n along and tripped him up.", "a stretcher standing in the corridor. On the stretcher, a body -\n Lilian's body - is covered by a white sheet. Three men are\n standing near the stretcher, one of them wearing green gloves and", "around a table, having dinner. Lilian House gives a glass of wine\n to the woman, then another one to Paul, and kisses him on the\n forehead.", "What ?\n LILLIAN\n That I know.\n \n CAROL (voice over)", "She has a heart attack. She drops dead spontaneously.\n They had no thought of killing her. Maybe they wished she\n was dead.", "very, very rich widow... but a recluse.\n \n Lilian's sister has a heart attack. Paul helps her walk away from\n the table to the sofa.", "accounts, liquidating her assets, accumulating big money.\n \n The camera pans back to the sofa, where Lilian is still dressing\n her sister.", "The following line, said by Lilian, is clearer and we understand\n it better.\n \n LILLIAN", "PAUL\n First show me Lillian's body.\n \n LARRY\n I... I got it.", "CAROL (voice over)\n No. Please, it's easy.\n \n Lilian picks up a book on a table near the bed.", "Lilian on board of it. They walk near the entrance of the\n «National Arts Club». Ted is holding a small notebook and looking\n at what is has written in it.", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "LILLIAN\n Yes.\n \n Larry looks at Carol and sits back on the sofa.", "CAROL (voice over)\n Good night. Such a lovely couple. You know that...\n \n Paul bends down to pick up something on the carpet. Lilian walks" ], [ "LARRY\n What do you mean surprisingly ?\n \n CAROL\n Yeah.", "LARRY\n You seem shocked.\n \n CAROL\n Well...", "LARRY\n She was totally dead.\n \n CAROL\n We... She's there.", "CAROL\n I think she's dead.\n \n LARRY\n Dead ? T-T-Try-Try giving her the present.", "CAROL\n But it doesn't make any sense at all, Larry, because\n suddenly, you know, he murders her. I mean, what's it all", "LARRY\n Yeah. Why are you so stunned ? I think that...\n \n CAROL", "CAROL\n Oh, God. I'm telling you... I mean, this is such a shock.\n \n LARRY", "CAROL\n Yeah.\n \n LARRY\n Jesus.", "LARRY\n She wasn't murdered. It was a coronary. It was a coronary,", "LARRY (voice over)\n Oh, Jesus.\n \n The camera tilts back down to street level. Larry and Carol are", "LARRY\n Oh, Jesus. I'm flabbergasted.\n \n CAROL", "LARRY\n We just saw her there. She's lying on the floor.\n \n CAROL", "CAROL\n Oh, my God.\n \n LARRY", "CAROL\n She never once mentioned that she had a heart condition.\n \n LARRY", "Larry.\n \n LARRY (voice over)\n What ?\n \n CAROL", "CAROL\n Larry, he had her cremated !\n \n LARRY", "LARRY (voice over)\n Oh my god, it is.\n \n CAROL (voice over)", "CAROL\n He'll never be back, Larry.\n \n LARRY\n What ? What ?", "Oh, my God. It's her.\n \n The camera tilts down to floor level and Larry and Carol.\n \n CAROL", "CAROL (voice over)\n Well, no wonder he had her cremated.\n \n LARRY\n What ?" ], [ "The camera pans back to Carol, hiding in the kitchen, then back to\n Paul.\n Paul opens both his hands in a gesture of despair : apparently, he", "PAUL\n Well, thank you.\n \n CAROL\n I thought I'd-I'd give you, you know, another shot at", "Paul starts opening his apartment door, just across the hallway\n from the elevator.\n \n CAROL (voice over)\n Huh ? Yeah ?", "A long pause. Ted and Carol seem to be both lost them in their own\n thoughts. Then Ted gives a look outside and comes back to\n attention.", "CAROL\n But it doesn't make any sense at all, Larry, because\n suddenly, you know, he murders her. I mean, what's it all", "PAUL\n Yes.\n \n CAROL (voice over)", "CAROL\n Well, okay.\n \n PAUL\n This is unbelievable.", "coming out of the building. Paul tuns his head around and sees\n Carol and Larry.\n \n PAUL\n Hallo, there.", "Carol and Larry both look very embarrassed. Paul looks at them\n with a slight surprised eye.\n \n LARRY\n At your mother's house.", "Paul takes the gag off Carol's mouth and put the phone mouthpiece\n in front of her lips.\n \n CAROL (CRYING)", "lot and looking very happy. Carol looks at him with a question on\n her face.\n \n LARRY\n Goodnight.", "PAUL\n It was quite nice of you.\n \n CAROL\n That's... sure.", "on a chair, with a white cloth gag taped on her mouth. While Paul\n is talking, the camera zooms on Carol's frightened face.\n \n PAUL", "CAROL\n That's right. Of course, so...\n \n She turns toward Paul, who has remained very calm.", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "CAROL\n Oh, oh well that'd be fine...\n \n PAUL (voice over)", "CAROL\n All right.\n \n LARRY\n And there's strange noises. I don't know what this is. I", "Like his lover. Say she called and said, «Paul, I've just\n seen Lillian's body. They want a hundred thousand dollars\n for it».", "CAROL\n Oh, well, it...\n PAUL\n See you later. Come on, Gladys.", "CAROL\n No, really ?\n \n The camera moves around, away from Larry and Carol, to Paul." ], [ "seem to understand that something is wrong with her. He walks away\n to the sitting room. He keeps on talking in voice over, while\n Carol is still leaning on the wall of the front hall.", "CAROL\n Yay, hooray.\n \n Then she raises her eyes to the ceiling, seeming more bored than", "Well, Jesus. What do you want the guy to do, walk down the\n street sobbing hysterically ?\n Carol starts brushing her hair.", "Carol reappears on the other side of the partition.\n \n LARRY (voice over)\n Never comfortable.", "The camera pans to a medium close shot on Carol.\n \n CAROL", "CAROL\n That's right. Of course, so...\n \n She turns toward Paul, who has remained very calm.", "looking around her.\n \n CAROL (voice over)\n Oh, god, yeah. Right.", "PAUL\n Yes.\n \n CAROL (voice over)", "Yeah. Okay. All right. Oh, God.\n \n The camera turns around to a reverse angle shot on Carol, still in\n the workshop. She looks around, apparently looking for something.", "CAROL\n Oh, damn it.\n \n Larry takes her by the shoulders.", "surprise her, because it's her birthday, so-so...\n \n He gives the parcel back to Carol.", "I don't think she's...\n \n The camera starts panning around the room, up to the window, then\n starts panning back toward Carol and Larry.", "Carol looks at him walking away with a strange expression in her\n eyes.", "Yeah, well. See this ?\n \n CAROL\n Okay.", "CAROL\n Yeah.\n \n LARRY\n Jesus.", "CAROL\n Just let me think about this a second. Okay, I got it.\n Wait. I know, it... No, wait. Listen to me. Larry...", "Carol walks to a chest of drawers, on top of which she drops the\n hairbrush. Then she switches the lights off in the other section\n of the bedroom, and walks back to the bed.", "Carol crosses the kitchen. She kneels down to look into the\n cupboard where she had found the funeral urn. Apparently the urn\n is not there anymore.", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "Carol has picked up a few papers from a low table, and is looking\n at them. She puts her hand into her trouser pocket to get her" ], [ "Listen, Larry. I want to take another look around his\n apartment. Yeah.\n \n Carol walks along the corridor toward the bedroom. Larry follows\n her.", "LARRY'S APARTMENT - KITCHEN - INTERIOR NIGHT\n \n Carol looks through a notebook.", "Carol is still looking in all the cupboards of the kitchen. She\n gets out of the kitchen into the living-room.", "LARRY'S APARTMENT - KITCHEN - INTERIOR NIGHT\n \n Carol is still standing up, the telephone handset stuck between", "LARRY'S APARTMENT - BEDROOM - INTERIOR NIGHT\n Medium shot of Carol coming out of the bathroom. She switches the", "Paul starts opening his apartment door, just across the hallway\n from the elevator.\n \n CAROL (voice over)\n Huh ? Yeah ?", "Carol and Larry's apartment is quite different from the one we've\n just left. It is the apartment of a couple of New-York\n intellectuals, with nice, artistic furniture. We hear a door", "in the cupboards. Behind him, we see the front hall. The front\n door opens and Carol walks in.\n \n LARRY", "Carol walks toward the living room, and the light coming from the\n windows.\n \n PAUL'S APARTMENT - KITCHEN - INTERIOR DAY", "PAUL'S APARTMENT - LIVING-ROOM - INTERIOR DAY\n \n Carol is sitting at the desk. She has opened the drawer of the", "Carol walks into the kitchen from the living-room.\n \n The camera pans to Paul, looking for something on his desk. He\n looks through all the documents scattered on the desk.", "corridor, and the walls of the corridor concealing part of the\n hall.\n Carol enters the apartment, and Larry holds the door for her.", "PAUL'S APARTMENT - BEDROOM - INTERIOR NIGHT\n \n Carol enters the bedroom, followed by Larry.\n LARRY", "They both start searching the room frenetically. While Larry looks\n on the desk, Carol searches the rest of the room, even kneeling on\n the floor.", "when she hears the front door opening.\n \n Black screen shot on the front door in the dark of the corridor,\n then the camera quickly spins around to show Carol, standing in", "Carol walks rapidly inside the apartment, followed by Larry. Paul\n looks a bit surprised by this intrusion. He follows them along the\n corridor. He doesn't even close his front door !", "PAUL'S APARTMENT - LIVING-ROOM - INTERIOR DAY\n \n Carol closes the drawer of the desk. She stands up and picks up", "Paul's apartment. Larry walks behind her. Carol takes Paul's key\n out of her pocket and tries to open the front door. But she takes\n the wrong key on the keyring.", "PAUL'S APARTMENT - LIVING-ROOM - INTERIOR DAY\n \n Carol puts the phone down on the desk. She stands and turns around", "The camera pans around toward the street door. Carol enters the\n lobby, followed by Larry. Carol is holding a small present-wrapped\n parcel in her hand and walks toward the clerk." ], [ "The camera zooms backward to Carol with the phone handset to her\n ear.\n \n LARRY", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "CAROL\n Oh. Oh, God.\n \n She picks up the phone from the wall. Larry sits at the table.", "LARRY\n Quick, quick. Dial, dial, dial.\n \n He picks up the telephone, and Carol, whose hands are now", "The camera zooms to a close shot on the telephone. Carol picks it\n up.\n \n CAROL\n Um, «Last number dialed».", "Don't ring Mr. house. This is a widower. Leave the poor guy\n alone. You're crazy. Stop it.\n Carol listens to the phone.", "Oh, yes. Max Schindler's book. That's right, the phone\n call.\n \n CAROL (voice over)", "Carol kneels down on the floor, bending on something she just saw\n on the floor. The camera follows her movement and we see a human\n hand resting on the floor, the rest of the body being hidden by", "They both start searching the room frenetically. While Larry looks\n on the desk, Carol searches the rest of the room, even kneeling on\n the floor.", "Yeah. Okay. All right. Oh, God.\n \n The camera turns around to a reverse angle shot on Carol, still in\n the workshop. She looks around, apparently looking for something.", "Paul takes the gag off Carol's mouth and put the phone mouthpiece\n in front of her lips.\n \n CAROL (CRYING)", "Larry.\n \n MALE VOICE OVER FROM THE PHONE\n Waldron.\n \n CAROL", "The trap opens, and Lilian House's body comes out. Carol yells and\n falls down on the floor. The upper part of the body is hanging out\n of the trap, with its arms moving around.", "While Larry is answering her, Carol opens the front door and peeks\n into the hallway.\n \n LARRY", "Uh...\n LARRY\n Listen to this.\n \n CAROL (voice over)", "PAUL\n Yes.\n \n CAROL (voice over)", "watching the porn channel. I'll put her on.\n \n He gives the phone receiver to Carol.\n \n CAROL", "The camera pans to a medium close shot on Carol.\n \n CAROL", "Carol reappears on the other side of the partition.\n \n LARRY (voice over)\n Never comfortable.", "seem to understand that something is wrong with her. He walks away\n to the sitting room. He keeps on talking in voice over, while\n Carol is still leaning on the wall of the front hall." ], [ "A long pause. Ted and Carol seem to be both lost them in their own\n thoughts. Then Ted gives a look outside and comes back to\n attention.", "LARRY\n You know, I was thinking of fixing Ted up with Helen Dubin.\n You know, I figured they would just, you know, get into an", "PAUL (voice over)\n Maybe you won't have to work at all.\n \n Ted and Carol are moving away from the stairway, which remains", "CAROL\n What are you doing ? I mean...\n \n Larry talks to Ted on the phone.", "PAUL\n Oh, no. We had... very few friends, no family.\n \n The camera moves closer to Larry and Carol.\n CAROL", "Uh...\n LARRY\n Listen to this.\n \n CAROL (voice over)", "CAROL\n Hallo ? Ted. Ted.\n \n LARRY\n Oh, Ted. Ted.", "CAROL\n Please, stop it, will you ? Please, be quiet, Larry.\n \n LARRY\n This is wrong.", "He hugs and kisses her.\n \n CAROL\n Oh, God, Larry ! Oh, Larry, I'm so happy to see you !", "The door of the elevator opens. Inside the cabin, Larry and Carol\n are smiling and talking.\n \n LARRY (voice over)", "coming out of the building. Paul tuns his head around and sees\n Carol and Larry.\n \n PAUL\n Hallo, there.", "Carol laughs.\n \n CAROL\n Well. Oh, boy.\n \n TED", "This is Helen Moss.\n \n HELEN\n Hi, there.\n \n CAROL (voice over)", "The following dialogue transcript separates what Larry says from\n what Carol says, but, most of the time, they talk together at the\n same time, making it quite difficult for us, or for the police", "LARRY (voice over)\n This is great. This is great.\n \n CAROL\n I s... No, really.", "lot and looking very happy. Carol looks at him with a question on\n her face.\n \n LARRY\n Goodnight.", "LARRY\n Quick, quick. Dial, dial, dial.\n \n He picks up the telephone, and Carol, whose hands are now", "LARRY\n Oh, Geez, I was...\n \n CAROL (voice over)\n Come on.", "Carol and Larry's apartment is quite different from the one we've\n just left. It is the apartment of a couple of New-York\n intellectuals, with nice, artistic furniture. We hear a door", "They both start searching the room frenetically. While Larry looks\n on the desk, Carol searches the rest of the room, even kneeling on\n the floor." ], [ "My God. This gave me the chills, honey.\n \n LARRY\n Yeah, well, let's call the police.", "situation to the police officers. But since they both talk\n together, the police officers have a hard time understanding them.\n \n While they are talking, the camera zooms forward from a long shot", "I'm gonna call the Police, now.\n \n CAROL\n Oh, Larry, and tell them what ?", "of the street. A blue police car is parked in front of the hotel.\n Two plainclothes police officers and one uniformed policeman are\n talking with Carol and Larry. They both try to explain the", "the face. The girl was nervous. I tried to keep calm, as\n best as I could.\n \n One of the plainclothes police officers stops their talking.", "NEIGHBOR (voice over)\n I had to come up here and call nine-one-one.\n \n ANOTHER NEIGHBOR (voice over)", "FIRST POLICE OFFICER\n Calm down. Calm down ! Please !\n \n CAROL", "The second plainclothes police officer joins the group.\n SECOND POLICE OFFICER\n ...He's been at his place of business all day.", "No, we didn't.\n \n CAROL\n No, okay.\n SECOND POLICE OFFICER", "Back to Carol under the bed. The bed frame hits her back when Paul\n sits on it. She looks up. We hear Paul dialing a number.\n \n PAUL (voice over)", "The camera pans from the uniformed policeman to the two police\n officers talking with Carol and Larry in the middle of the room.", "The camera turns back to the tall neighbor standing near the front\n door. A policeman enters the apartment.\n \n TALL NEIGHBOR", "officers, to follow their conversation.\n \n CAROL\n Because, I mean, she was, she was there, do you\n understand ?", "They start walking away on the sidewalk, while the police officers\n are climbing in their car.\n \n LARRY", "gee...\n \n CAROL\n We... we gotta call the police, Larry.\n \n LARRY", "SECOND POLICE OFFICER\n Bye-bye.\n \n The two police officers walk away with the uniformed policeman.", "The camera tilts down on one of the police officers looking under\n the bed.\n LARRY", "Oh, no, the police are red tape. Come on. This is my case,\n honey.\n \n Larry catches up with her. The camera remains on the sidewalk,", "He starts climbing the few steps to the entrance of the hotel,\n followed by Carol and Larry. The other police officer remains on\n the sidewalk.", "body, and... I mean, they must get fifty crisis calls a\n minute. Why would they bother with us ?\n \n LARRY" ] ]

[ "Where did the Liptons find Lilian's body?", "What happened the day after the Liptons met Lilian?", "Who does Paul kidnap?", "Where did Mr. House dump Lilian's body?", "How much were Larry and Carol demanding from Paul?", "What does Paul demand in exchange for Carol?", "Why were the Liptons shocked by Lilian's death?", "How did the Liptons come across Lilian's body?", "Whose dead body was actually in Lilian's apartment?", "How does Lilian die?", "Why is Carol suspicious of Paul?", "Why does Lilian doubt that Lilian was buried?", "Where does Helen hide when Paul nearly catches her in his apartment?", "Where did Carol see a Lilian lookalike?", "How much money do Larry and Carol demand of Paul?", "What is being played during the chase in the theater?", "Who turned out to be Lilian's lookalike?", "Why did Paul doublecross Lilian?", "Where did Larry and Carol meet their neighbors?", "How did Lilian die?", "Why were Larry and Carol surprised by her death?", "What made carol feel funny about Pauls reaction to his wife's death?", "What does Carol do about how she feels?", "What does Carol find in the apartment?", "Who does Carol contact to tell of what she's found?", "What did Carol, Ted, and Larry overhear Paul and Helen discussing?", "Why were the police called?" ]

[ [ "In the emergency exit panel.", "Emergency exit panel. " ], [ "Lilian died.", "Lillian died of a heart attack." ], [ "Carol.", "Paul kidnaps Carol." ], [ "Pile of scrap metal.", "In a melting furnace." ], [ "$200,000.", "$200,000." ], [ "Lilian's body.", "Lillians' body" ], [ "Lilian seemed healthy.", "Because Lillian seemed so healthy, a heart attack was the last thing they were expecting." ], [ "From being trapped in a lift.", "They discovered her body in the emergency exit panel." ], [ "Her sister's body.", "Lilian's rich sister." ], [ "A heart attack", "She was killed." ], [ "He's happy for someone whose wife died. ", "Because of his cheerfulness." ], [ "She finds a urn in Paul's apartment. ", "Because she discovers an urn in the apartment, contradicting the husband's story." ], [ "Under his bed.", "Under the bed" ], [ "On a bus", "A bus" ], [ "200,000 dollars", "$200,000" ], [ "The Lady from Shanghai", "The Lady from Shanghai by Orson Welles" ], [ "Her rich sister", "Her sister" ], [ "He wanted to be with a young actress named Helen. ", "So he could run off with Helen." ], [ "They met in an elevetor.", "In the elevator" ], [ "Lilian died of a heart attack.", "she didnt" ], [ "Lilian did not look or act unhealthy at all.", "Larry did not seem upset by her death." ], [ "She felt that he was too happy afterwards.", "He was in a good mood" ], [ "She decides to do research on Paul and goes to see him.", "she starts investigating" ], [ "She finds plans to travel for paul and another woman.", "She finds an urn in the apartment." ], [ "She tells a good male friend of hers.", "the police" ], [ "They were going over financial plans.", "money" ], [ "A dead body was found.", "Helen shoots Paul" ] ]

[ [ "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "The history of the house, opening amidst a maze of dates, revealed no\ntrace of the sinister either about its construction or about the", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "rented the place. It is still spectral, but its strangeness fascinates\nme, and I shall find mixed with my relief a queer regret when it is torn", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "persistent evil beyond anything in nature as I had known it; an evil\nclearly connected with the house and not with the family. This\nimpression was confirmed by my uncle's less systematic array of", "widespread tales of rattling chains, cold currents of air, extinguished\nlights, or faces at the window. Extremists sometimes said the house was", "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "at the morbid strangeness of this sinister vegetation, but at the\neldritch atmosphere and odor of the dilapidated house, whose unlocked", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their", "structure in 1763, and followed the theme with an unusual amount of\ndetail. The shunned house, it seems, was first inhabited by William", "yard dating from a time when the region was partly open country. It does\nnot appear that he ever wrote or spoke of it, nor is there any evidence\nthat he even noticed it. And yet that house, to the two persons in", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "had ever read. It was of this world, and yet not of it--a shadowy\ngeometrical confusion in which could be seen elements of familiar things\nin most unfamiliar and perturbing combinations. There was a suggestion", "the house for over a century and a half. I wondered what it would look\nlike--what its form and substance would be, and how big it might have", "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits" ], [ "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "the ground floor overhead; the decrepit plank door leading to bins and\nchambers beneath other parts of the house; the crumbling stone staircase", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "cellar kitchen, and at least three well-defined legends bore upon the\nqueer quasi-human or diabolic outlines assumed by tree-roots and patches\nof mold in that region. These latter narratives interested me", "building, and poring over every inch of the earthen cellar floor.\nFinally, with Carrington Harris's permission, I fitted a key to the", "at once to examine the cellar of the shunned house itself with a new and\nexcited minuteness.", "the time of the Revolution sheared off most of the intervening space,\nexposing the foundations so that a brick basement wall had to be made,\ngiving the deep cellar a street frontage with door and one window above", "disused door opening from the cellar directly upon Benefit Street,\npreferring to have a more immediate access to the outside world than the\ndark stairs, ground-floor hall, and front door could give. There, where", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits", "of chests, chairs, and spinning-wheels which infinite years of deposit\nhad shrouded and festooned into monstrous and hellish shapes.", "stone of the walls, from which all traces of whitewash had vanished; the\ndank, fetid and mildew-tainted hard earth floor with its obscene fungi;", "furniture as still remained. The dust and cobwebs added their touch of\nthe fearful; and brave indeed was the boy who would voluntarily ascend", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "windows with paper and planning to return in the evening for our first\nvigil. We had locked the door from the cellar to the ground floor; and\nhaving a key to the outside cellar door, were prepared to leave our", "their way into the cellar through the loose foundation-stones.", "which the name of Etienne Roulet would unlock. In the end I did find\nsomething; something of such vague but monstrous import that I set about", "destroy--the horror of the house by a joint night or nights of\naggressive vigil in that musty and fungus-cursed cellar.", "filtered glow from the rain-harassed street-lamps outside, and a feeble\nphosphorescence from the detestable fungi within, showed the dripping", "the last, when a curious blend of servant and baby visages flickered\nclose to the fungous floor where a pool of greenish grease was\nspreading, it seemed as though the shifting features fought against" ], [ "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "All at once he commenced to mutter, and I did not like the look of his\nmouth and teeth as he spoke. The words were at first indistinguishable,", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "shunned house could now be rented to no others--would babble\nmaledictions in French, a language they could not possibly have studied\nto any extent. It made one think of poor Rhoby Harris nearly a century", "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "was queer--damnably queer--and my uncle spoke almost sheepishly, as if\nhalf expecting not to be believed, when he declared that of the strange", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "her health visibly declined from the time of her advent. She was greatly\ndevoted to her unfortunate sister, and had an especial affection for her\nonly surviving nephew William, who from a sturdy infant had become a", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "Welcome's death in battle by two years, had not himself known the\nlegend, but recalled that his earliest nurse, the ancient Maria Robbins,\nseemed darkly aware of something that might have lent a weird", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "perhaps more alone than he can realize. My uncle breathed heavily, his\ndeep inhalations and exhalations accompanied by the rain outside, and\npunctuated by another nerve-racking sound of distant dripping water", "in turn watching me greedily with eyes more imaginable than visible.\nWhen I told my uncle about it he was greatly aroused; and after a tense", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "somewhat peculiar circumstance in Mercy's last moments, but he had soon\nforgotten all about it save that it was something peculiar. The\ngranddaughter, moreover, recalled even this much with difficulty. She", "and then--with a tremendous start--I recognized something about them\nwhich filled me with icy fear till I recalled the breadth of my uncle's\neducation and the interminable translations he had made from" ], [ "in turn watching me greedily with eyes more imaginable than visible.\nWhen I told my uncle about it he was greatly aroused; and after a tense", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "was queer--damnably queer--and my uncle spoke almost sheepishly, as if\nhalf expecting not to be believed, when he declared that of the strange", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "themselves and strove to form contours like those of my uncle's kindly\nface. I like to think that he existed at that moment, and that he tried", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "yells of distant multitudes who thirsted for my blood. My uncle's face\ncame to me with less pleasant association than in waking hours, and I", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "and then--with a tremendous start--I recognized something about them\nwhich filled me with icy fear till I recalled the breadth of my uncle's\neducation and the interminable translations he had made from", "When, in the end, my insistent pestering and maturing years evoked from\nmy uncle the hoarded lore I sought, there lay before me a strange enough", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "Indeed, I could see that my uncle had thought deeply on the subject, and\nthat he was glad of my own interest--an open-minded and sympathetic\ninterest which enabled him to discuss with me matters at which others", "perhaps more alone than he can realize. My uncle breathed heavily, his\ndeep inhalations and exhalations accompanied by the rain outside, and\npunctuated by another nerve-racking sound of distant dripping water", "Now the irony is this. In this walk, so many times repeated, the world's\ngreatest master of the terrible and the bizarre was obliged to pass a", "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in" ], [ "windows with paper and planning to return in the evening for our first\nvigil. We had locked the door from the cellar to the ground floor; and\nhaving a key to the outside cellar door, were prepared to leave our", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "thing's heart out if heart existed to burn. All this aggressive\nmechanism we set in the cellar in positions carefully arranged with\nreference to the cot and chairs, and to the spot before the fireplace", "almost automatically I leaped up and turned about to grasp the\ndestructive instruments which we had left trained on the moldy spot\nbefore the fireplace. As I turned, I dreaded what I was to see; for the", "cellar kitchen, and at least three well-defined legends bore upon the\nqueer quasi-human or diabolic outlines assumed by tree-roots and patches\nof mold in that region. These latter narratives interested me", "building, and poring over every inch of the earthen cellar floor.\nFinally, with Carrington Harris's permission, I fitted a key to the", "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "at once to examine the cellar of the shunned house itself with a new and\nexcited minuteness.", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "their way into the cellar through the loose foundation-stones.", "disused door opening from the cellar directly upon Benefit Street,\npreferring to have a more immediate access to the outside world than the\ndark stairs, ground-floor hall, and front door could give. There, where", "Our cellar vigil began at ten p. m., daylight saving time, and as it\ncontinued we found no promise of pertinent developments. A weak,", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats", "in case of manifestations beyond our power to deal with. It was our idea\nthat our continued nocturnal presence would call forth whatever malign\nentity lurked there; and that being prepared, we could dispose of the", "destroy--the horror of the house by a joint night or nights of\naggressive vigil in that musty and fungus-cursed cellar.", "It was a sense of routine which kept me from going mad. I had drilled\nmyself in preparation for the crucial moment, and blind training saved", "and embarked on it alone and unhesitatingly; conscious that the seeking\nof outside aid would only expose us to ridicule and perhaps defeat our\nentire purpose. Such was our frame of mind as we talked--far into the", "furniture as still remained. The dust and cobwebs added their touch of\nthe fearful; and brave indeed was the boy who would voluntarily ascend", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "organ; and Ann's dogged insistence on a search under the cellar had been\nprominent in bringing about her discharge." ], [ "windows with paper and planning to return in the evening for our first\nvigil. We had locked the door from the cellar to the ground floor; and\nhaving a key to the outside cellar door, were prepared to leave our", "thing's heart out if heart existed to burn. All this aggressive\nmechanism we set in the cellar in positions carefully arranged with\nreference to the cot and chairs, and to the spot before the fireplace", "building, and poring over every inch of the earthen cellar floor.\nFinally, with Carrington Harris's permission, I fitted a key to the", "cellar kitchen, and at least three well-defined legends bore upon the\nqueer quasi-human or diabolic outlines assumed by tree-roots and patches\nof mold in that region. These latter narratives interested me", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "at once to examine the cellar of the shunned house itself with a new and\nexcited minuteness.", "the ground floor overhead; the decrepit plank door leading to bins and\nchambers beneath other parts of the house; the crumbling stone staircase", "Our cellar vigil began at ten p. m., daylight saving time, and as it\ncontinued we found no promise of pertinent developments. A weak,", "the time of the Revolution sheared off most of the intervening space,\nexposing the foundations so that a brick basement wall had to be made,\ngiving the deep cellar a street frontage with door and one window above", "disused door opening from the cellar directly upon Benefit Street,\npreferring to have a more immediate access to the outside world than the\ndark stairs, ground-floor hall, and front door could give. There, where", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "their way into the cellar through the loose foundation-stones.", "owned the house and deserved to know what had gone out of it. Then too,\nwe had spoken to him in advance of our quest; and I felt after my", "of acid around and near two sides, so that when necessary I might empty\nthem all down the aperture in quick succession. After that I dumped", "organ; and Ann's dogged insistence on a search under the cellar had been\nprominent in bringing about her discharge.", "The two remaining carboys I emptied down without particular result, and\nafter a time I felt it safe to shovel the earth back into the pit. It", "a spade, a military gas-mask, and six carboys of sulfuric acid, all to\nbe delivered the next morning at the cellar door of the shunned house in", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "house was generally regarded. It is likely that he felt only vexation\nwhen, in 1804, the town council ordered him to fumigate the place with" ], [ "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "My hand shook perceptibly, but still I delved; after a while standing in\nthe large hole I had made. With the deepening of the hole, which was", "stovepipe doubled in two, its largest part some two feet in diameter.\nStill more I scraped, and then abruptly I leaped out of the hole and", "The two remaining carboys I emptied down without particular result, and\nafter a time I felt it safe to shovel the earth back into the pit. It", "obscurely survived the bodies murdered and buried by the mob, and\ncontinued to function in some multiple-dimensioned space along the\noriginal lines of force determined by a frantic hatred of the", "At eleven a. m. the next day I commenced digging. It was sunny weather,\nand I was glad of that. I was still alone, for as much as I feared the", "my neck. Then courage returned, and I scraped away more dirt in the\nlight of the electric torch I had provided. The surface I uncovered was", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats", "earth only along the other two sides; working more slowly and donning my\ngas-mask as the smell grew. I was nearly unnerved at my proximity to a\nnameless thing at the bottom of a pit.", "but when I recovered I saw that the hole was emitting no fresh vapors.", "The grease was gone, for the moldy floor was porous. And in front of the\nfireplace was no vestige of the giant doubled-up form traced in niter.", "waxed through long ages of life-sucking. At length I climbed out of the\nhole and dispersed the heaped-up dirt, then arranging the great carboys", "The first revelation led to an exhaustive research, and finally to that\nshuddering quest which proved so disastrous to myself and mine. For at", "was later run. It had, as rumor indeed said, been the Throckmorton\ngraveyard; but as I examined the records more carefully, I found that", "Then suddenly I came--by a rare piece of chance, since it was not in the\nmain body of records and might easily have been missed--upon something", "almost automatically I leaped up and turned about to grasp the\ndestructive instruments which we had left trained on the moldy spot\nbefore the fireplace. As I turned, I dreaded what I was to see; for the", "hell, it had received at last the demon soul of an unhallowed thing. And\nas I patted down the last spadeful of mold, I shed the first of the many", "least, with only some wild tales and a complaint that he disliked the\nsmell of the place. For a time Mercy could secure no more help, since", "kind of harmless grayish powder which blew ash-like along the floor. One\nof earth's nethermost terrors had perished for ever; and if there be a", "I turned my electric flashlight on him and found his face averted; so\nrising and crossing to the other side of the cot, I again flashed the" ], [ "of acid around and near two sides, so that when necessary I might empty\nthem all down the aperture in quick succession. After that I dumped", "The two remaining carboys I emptied down without particular result, and\nafter a time I felt it safe to shovel the earth back into the pit. It", "waxed through long ages of life-sucking. At length I climbed out of the\nhole and dispersed the heaped-up dirt, then arranging the great carboys", "away from the filthy thing; frantically unstopping and tilting the heavy\ncarboys, and precipitating their corrosive contents one after another", "how I lived through it. I did faint after emptying the fourth carboy,\nwhich I had to handle after the fumes had begun to penetrate my mask;", "least, with only some wild tales and a complaint that he disliked the\nsmell of the place. For a time Mercy could secure no more help, since", "kind of harmless grayish powder which blew ash-like along the floor. One\nof earth's nethermost terrors had perished for ever; and if there be a", "to bid me farewell. It seems to me I hiccupped a farewell from my own\nparched throat as I lurched out into the street; a thin stream of grease", "stovepipe doubled in two, its largest part some two feet in diameter.\nStill more I scraped, and then abruptly I leaped out of the hole and", "Now the irony is this. In this walk, so many times repeated, the world's\ngreatest master of the terrible and the bizarre was obliged to pass a", "The grease was gone, for the moldy floor was porous. And in front of the\nfireplace was no vestige of the giant doubled-up form traced in niter.", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats", "Our cellar vigil began at ten p. m., daylight saving time, and as it\ncontinued we found no promise of pertinent developments. A weak,", "of chests, chairs, and spinning-wheels which infinite years of deposit\nhad shrouded and festooned into monstrous and hellish shapes.", "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "obscurely survived the bodies murdered and buried by the mob, and\ncontinued to function in some multiple-dimensioned space along the\noriginal lines of force determined by a frantic hatred of the", "the seven deaths and case of madness, all occurring within five years'\nspace, had begun to set in motion the body of fireside rumor which later\nbecame so bizarre. Ultimately, however, she obtained new servants from", "at things more potent than luminosity. This I perceived with unhealthy\nsharpness despite the fact that two of my other senses were violently\nassailed. For on my ears rang the reverberations of that shocking", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension." ], [ "The next spring no more pale grass and strange weeds came up in the\nshunned house's terraced garden, and shortly afterward Carrington Harris", "which put an end to the renting of the house--a series of anemia deaths\npreceded by progressive madnesses wherein the patient would craftily", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "kind of harmless grayish powder which blew ash-like along the floor. One\nof earth's nethermost terrors had perished for ever; and if there be a", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "The young soldier's return was not a thing of unmitigated happiness. The\nhouse, it is true, was still in good condition; and the street had been", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "William Harris, at last thoroughly convinced of the radically\nunhealthful nature of his abode, now took steps toward quitting it and", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "house was generally regarded. It is likely that he felt only vexation\nwhen, in 1804, the town council ordered him to fumigate the place with", "The two remaining carboys I emptied down without particular result, and\nafter a time I felt it safe to shovel the earth back into the pit. It", "rented the place. It is still spectral, but its strangeness fascinates\nme, and I shall find mixed with my relief a queer regret when it is torn", "The grease was gone, for the moldy floor was porous. And in front of the\nfireplace was no vestige of the giant doubled-up form traced in niter.", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "owned the house and deserved to know what had gone out of it. Then too,\nwe had spoken to him in advance of our quest; and I felt after my", "the house for over a century and a half. I wondered what it would look\nlike--what its form and substance would be, and how big it might have", "Dutee himself thought little of the house, for he grew up to be a\nprivateersman, and served with distinction on the _Vigilant_ under", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen" ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "a sane, conservative physician of the old school, and for all his\ninterest in the place was not eager to encourage young thoughts toward\nthe abnormal. His own view, postulating simply a building and location", "issued by Doctor Chad Hopkins, and showing the four deceased persons all\nunaccountably lacking in blood; and the obscure passages of poor Rhoby", "The doctor was a bachelor; a white-haired, clean-shaven, old-fashioned\ngentleman, and a local historian of note, who had often broken a lance", "before, and so moved my uncle that he commenced collecting historical\ndata on the house after listening, some time subsequent to his return\nfrom the war, to the first-hand account of Doctors Chase and Whitmarsh.", "commentary on the potential vitality and resilience of a man of\neighty-one. Elihu Whipple had lived according to the hygienic laws he", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "This was in 1860 and 1861, when my uncle had just begun his medical\npractise; and before leaving for the front he heard much of it from his", "for Hannah Bowen, one of the two servants, died of it in the following\nJune. Eli Lideason, the other servant, constantly complained of", "was later run. It had, as rumor indeed said, been the Throckmorton\ngraveyard; but as I examined the records more carefully, I found that", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation.", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "which was, however, merely suggestive at most. I refer to a sort of\ncloudy whitish pattern on the dirt floor--a vague, shifting deposit of", "The next April, sickness occurred among the children, and Abigail and\nRuth died before the month was over. Doctor Job Ives diagnosed the", "of a staring thing which bit and chewed at her. In 1772 the servant\nZenas died, and when Mrs. Harris heard of it she laughed with a shocking", "tenacious horror and preternatural malevolence which impressed me even\nmore than it had impressed the good doctor. Separate events fitted\ntogether uncannily, and seemingly irrelevant details held mines of", "chronicle. Long-winded, statistical, and drearily genealogical as some\nof the matter was, there ran through it a continuous thread of brooding," ], [ "windows with paper and planning to return in the evening for our first\nvigil. We had locked the door from the cellar to the ground floor; and\nhaving a key to the outside cellar door, were prepared to leave our", "in case of manifestations beyond our power to deal with. It was our idea\nthat our continued nocturnal presence would call forth whatever malign\nentity lurked there; and that being prepared, we could dispose of the", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "owned the house and deserved to know what had gone out of it. Then too,\nwe had spoken to him in advance of our quest; and I felt after my", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "where the mold had taken strange shapes. That suggestive patch, by the\nway, was only faintly visible when we placed our furniture and\ninstruments, and when we returned that evening for the actual vigil. For", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "I turned my electric flashlight on him and found his face averted; so\nrising and crossing to the other side of the cot, I again flashed the", "expensive and delicate apparatus--which we had obtained secretly and at\ngreat cost--as many days as our vigils might be protracted. It was our", "a sane, conservative physician of the old school, and for all his\ninterest in the place was not eager to encourage young thoughts toward\nthe abnormal. His own view, postulating simply a building and location", "almost automatically I leaped up and turned about to grasp the\ndestructive instruments which we had left trained on the moldy spot\nbefore the fireplace. As I turned, I dreaded what I was to see; for the", "To declare that we were not nervous on that rainy night of watching\nwould be an exaggeration both gross and ridiculous. We were not, as I", "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "At length, upon a suggestion of my uncle's, I decided to try the spot\nnocturnally; and one stormy midnight ran the beams of an electric torch", "design to sit up together till very late, and then watch singly till\ndawn in two-hour stretches, myself first and then my companion; the\ninactive member resting on the cot.", "on us, even though it was wholly above ground on the street side, with\nonly a thin door and window-pierced brick wall to separate it from the", "furniture as still remained. The dust and cobwebs added their touch of\nthe fearful; and brave indeed was the boy who would voluntarily ascend", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits" ], [ "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "French often shouted for hours in a coarse and idiomatic form of that\nlanguage, or that the same person, alone and guarded, complained wildly", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "All at once he commenced to mutter, and I did not like the look of his\nmouth and teeth as he spoke. The words were at first indistinguishable,", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "Meanwhile poor Rhoby Harris, in her madness, gave voice to dreams and\nimaginings of the most hideous sort. At times her screams became", "Conversation, also, soon tended to dispel my sense of strangeness; and\nin time I yielded to my yawns and took my turn at slumber. My uncle", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "recall many futile struggles and attempts to scream. It was not a\npleasant sleep, and for a second I was not sorry for the echoing shriek", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "first hour, but now he was breathing with unusual irregularity,\noccasionally heaving a sigh which held more than a few of the qualities\nof a choking moan.", "a sane, conservative physician of the old school, and for all his\ninterest in the place was not eager to encourage young thoughts toward\nthe abnormal. His own view, postulating simply a building and location", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension.", "He had, he said, floated off from a very ordinary series of\ndream-pictures into a scene whose strangeness was related to nothing he", "The doctor was a bachelor; a white-haired, clean-shaven, old-fashioned\ngentleman, and a local historian of note, who had often broken a lance" ], [ "in turn watching me greedily with eyes more imaginable than visible.\nWhen I told my uncle about it he was greatly aroused; and after a tense", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "was queer--damnably queer--and my uncle spoke almost sheepishly, as if\nhalf expecting not to be believed, when he declared that of the strange", "When, in the end, my insistent pestering and maturing years evoked from\nmy uncle the hoarded lore I sought, there lay before me a strange enough", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "yells of distant multitudes who thirsted for my blood. My uncle's face\ncame to me with less pleasant association than in waking hours, and I", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "themselves and strove to form contours like those of my uncle's kindly\nface. I like to think that he existed at that moment, and that he tried", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "and then--with a tremendous start--I recognized something about them\nwhich filled me with icy fear till I recalled the breadth of my uncle's\neducation and the interminable translations he had made from", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation.", "Indeed, I could see that my uncle had thought deeply on the subject, and\nthat he was glad of my own interest--an open-minded and sympathetic\ninterest which enabled him to discuss with me matters at which others", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case", "perhaps more alone than he can realize. My uncle breathed heavily, his\ndeep inhalations and exhalations accompanied by the rain outside, and\npunctuated by another nerve-racking sound of distant dripping water", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats" ], [ "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "particular house on the eastern side of the street; a dingy, antiquated\nstructure perched on the abruptly rising side hill, with a great unkempt", "Carrington Harris, last of the male line, knew it only as a deserted and\nsomewhat picturesque center of legend until I told him my experience. He", "front door was often entered in quest of shudders. The small-paned\nwindows were largely broken, and a nameless air of desolation hung round", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "to the shunned house in Benefit Street. That pest spot lies not far\ndistant--for Benefit runs ledgewise just above the court house along the\nprecipitous hill up which the first settlement climbed.", "accurately, _had_ died there, since after some peculiar happenings over\nsixty years ago the building had become deserted through the sheer\nimpossibility of renting it. These persons were not all cut off suddenly", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "a sane, conservative physician of the old school, and for all his\ninterest in the place was not eager to encourage young thoughts toward\nthe abnormal. His own view, postulating simply a building and location", "widespread tales of rattling chains, cold currents of air, extinguished\nlights, or faces at the window. Extremists sometimes said the house was", "within--for the house was repulsively damp even in dry weather, and in\nthis storm positively swamp-like. I studied the loose, antique masonry", "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "The\n Shunned House\n\n By H. P. LOVECRAFT", "structure in 1763, and followed the theme with an unusual amount of\ndetail. The shunned house, it seems, was first inhabited by William", "house was generally regarded. It is likely that he felt only vexation\nwhen, in 1804, the town council ordered him to fumigate the place with", "The site he had chosen--a recently straightened part of the new and\nfashionable Back Street, which ran along the side of the hill above", "yard dating from a time when the region was partly open country. It does\nnot appear that he ever wrote or spoke of it, nor is there any evidence\nthat he even noticed it. And yet that house, to the two persons in" ], [ "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "cellar kitchen, and at least three well-defined legends bore upon the\nqueer quasi-human or diabolic outlines assumed by tree-roots and patches\nof mold in that region. These latter narratives interested me", "My hand shook perceptibly, but still I delved; after a while standing in\nthe large hole I had made. With the deepening of the hole, which was", "But after all, the attic was not the most terrible part of the house. It\nwas the dank, humid cellar which somehow exerted the strongest repulsion", "windows with paper and planning to return in the evening for our first\nvigil. We had locked the door from the cellar to the ground floor; and\nhaving a key to the outside cellar door, were prepared to leave our", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "about six feet square, the evil smell increased; and I lost all doubt of\nmy imminent contact with the hellish thing whose emanations had cursed", "The rest is shadowy and monstrous. There was no one in the soaking\nstreet, and in all the world there was no one I dared tell. I walked", "hell, it had received at last the demon soul of an unhallowed thing. And\nas I patted down the last spadeful of mold, I shed the first of the many", "of the walls in the fungus-light and the feeble rays which stole in from\nthe street through the screened window; and once, when the noisome", "_A posthumous story of immense power, written by a master of weird\n fiction--a tale of a revolting horror in the cellar of an old\n house in New England_", "stream of mist which curled putridly about and finally vanished up the\nchimney. I say that I saw this thing, but it is only in conscious\nretrospection that I ever definitely traced its damnable approach to", "at once to examine the cellar of the shunned house itself with a new and\nexcited minuteness.", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation.", "earth only along the other two sides; working more slowly and donning my\ngas-mask as the smell grew. I was nearly unnerved at my proximity to a\nnameless thing at the bottom of a pit.", "had ever read. It was of this world, and yet not of it--a shadowy\ngeometrical confusion in which could be seen elements of familiar things\nin most unfamiliar and perturbing combinations. There was a suggestion", "in case of manifestations beyond our power to deal with. It was our idea\nthat our continued nocturnal presence would call forth whatever malign\nentity lurked there; and that being prepared, we could dispose of the", "almost automatically I leaped up and turned about to grasp the\ndestructive instruments which we had left trained on the moldy spot\nbefore the fireplace. As I turned, I dreaded what I was to see; for the", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits" ], [ "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "Something like fear chilled me as I sat there in the small hours\nalone--I say alone, for one who sits by a sleeper is indeed alone;", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "seemed now very wakeful, and welcomed his period of watching even though\nthe nightmare had aroused him far ahead of his allotted two hours.", "recall many futile struggles and attempts to scream. It was not a\npleasant sleep, and for a second I was not sorry for the echoing shriek", "Sleep seized me quickly, and I was at once haunted with dreams of the\nmost disturbing kind. I felt, in my visions, a cosmic and abysmal", "first hour, but now he was breathing with unusual irregularity,\noccasionally heaving a sigh which held more than a few of the qualities\nof a choking moan.", "which clove through the barriers of dream and flung me to a sharp and\nstartled awakeness in which every actual object before my eyes stood out\nwith more than natural clearness and reality.", "at things more potent than luminosity. This I perceived with unhealthy\nsharpness despite the fact that two of my other senses were violently\nassailed. For on my ears rang the reverberations of that shocking", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "Conversation, also, soon tended to dispel my sense of strangeness; and\nin time I yielded to my yawns and took my turn at slumber. My uncle", "I had been lying with my face away from my uncle's chair, so that in\nthis sudden flash of awakening I saw only the door to the street, the", "Then, in the midst of that demoniac spectacle, I saw a fresh horror\nwhich brought cries to my lips and sent me fumbling and staggering", "perturbation and with eyes that had now started open, seemed not one but\nmany men, and suggested a curious quality of alienage from himself.", "scarcely recall what was dream and what was reality. Then thought\ntrickled back, and I knew that I had witnessed things more horrible than\nI had dreamed.", "yells of distant multitudes who thirsted for my blood. My uncle's face\ncame to me with less pleasant association than in waking hours, and I", "light to see if he seemed in any pain. What I saw unnerved me most\nsurprisingly, considering its relative triviality. It must have been\nmerely the association of any odd circumstance with the sinister nature", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension.", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as" ], [ "Hannah. He died the next year--a sad year indeed, since it marked the\ndeath of William Harris himself, enfeebled as he was by the climate of", "Carrington Harris, last of the male line, knew it only as a deserted and\nsomewhat picturesque center of legend until I told him my experience. He", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "Harris and his wife Rhoby Dexter, with their children, Elkanah, born in", "afford, and Harris hastened to move in before the birth of a fifth child\nwhich the family expected. That child, a boy, came in December; but was", "It may well be imagined how powerfully I was affected by the annals of\nthe Harrises. In this continuous record there seemed to me to brood a", "The widowed Rhoby Harris never recovered from the shock of her husband's\ndeath, and the passing of her first-born Elkanah two years later was the", "William Harris, at last thoroughly convinced of the radically\nunhealthful nature of his abode, now took steps toward quitting it and", "The next spring no more pale grass and strange weeds came up in the\nshunned house's terraced garden, and shortly afterward Carrington Harris", "faces many had unmistakably borne the features of the Harris family. And\nall the while there was a personal sensation of choking, as if some\npervasive presence had spread itself through his body and sought to", "Upon the outbreak of trouble with Great Britain in 1775, William Harris,\ndespite his scant sixteen years and feeble constitution, managed to", "of a staring thing which bit and chewed at her. In 1772 the servant\nZenas died, and when Mrs. Harris heard of it she laughed with a shocking", "Meanwhile poor Rhoby Harris, in her madness, gave voice to dreams and\nimaginings of the most hideous sort. At times her screams became", "Roulet's death--and no one seemed to hear of the family after that.", "The next April, sickness occurred among the children, and Abigail and\nRuth died before the month was over. Doctor Job Ives diagnosed the", "remaining servant Maria. In the autumn of 1782 Phebe Harris gave birth\nto a still-born daughter, and on the fifteenth of the next May Mercy", "obscurely survived the bodies murdered and buried by the mob, and\ncontinued to function in some multiple-dimensioned space along the\noriginal lines of force determined by a frantic hatred of the", "Having exhausted the Harris family of all the information it could\nfurnish, I turned my attention to early town records and deeds with a", "she was well-meaning, she would have let him live permanently with\nPeleg. Just what Mrs. Harris cried out in her fits of violence,", "1755, Abigail, born in 1757, William, Jr., born in 1759, and Ruth, born\nin 1761. Harris was a substantial merchant and seaman in the West India" ], [ "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "light to see if he seemed in any pain. What I saw unnerved me most\nsurprisingly, considering its relative triviality. It must have been\nmerely the association of any odd circumstance with the sinister nature", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "Then, in the midst of that demoniac spectacle, I saw a fresh horror\nwhich brought cries to my lips and sent me fumbling and staggering", "perturbation and with eyes that had now started open, seemed not one but\nmany men, and suggested a curious quality of alienage from himself.", "I had been lying with my face away from my uncle's chair, so that in\nthis sudden flash of awakening I saw only the door to the street, the", "frowning down on him. Again he seemed to be in the interior of a\nhouse--an old house, apparently--but the details and inhabitants were\nconstantly changing, and he could never be certain of the faces or the", "I turned my electric flashlight on him and found his face averted; so\nrising and crossing to the other side of the cot, I again flashed the", "at things more potent than luminosity. This I perceived with unhealthy\nsharpness despite the fact that two of my other senses were violently\nassailed. For on my ears rang the reverberations of that shocking", "The first revelation led to an exhaustive research, and finally to that\nshuddering quest which proved so disastrous to myself and mine. For at", "first hour, but now he was breathing with unusual irregularity,\noccasionally heaving a sigh which held more than a few of the qualities\nof a choking moan.", "I looked at the cot, the chairs, the instruments, my neglected hat, and\nthe yellowed straw hat of my uncle. Dazedness was uppermost, and I could", "scarcely recall what was dream and what was reality. Then thought\ntrickled back, and I knew that I had witnessed things more horrible than\nI had dreamed.", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "Now the irony is this. In this walk, so many times repeated, the world's\ngreatest master of the terrible and the bizarre was obliged to pass a", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "situation prompted, betrayed considerable agitation, and seemed not at\nall characteristic of him. His habitual expression was one of kindly and\nwell-bred calm, whereas now a variety of emotions seemed struggling", "On a certain rainy afternoon when this illusion seemed phenomenally\nstrong, and when, in addition, I had fancied I glimpsed a kind of thin," ], [ "kind of harmless grayish powder which blew ash-like along the floor. One\nof earth's nethermost terrors had perished for ever; and if there be a", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "which put an end to the renting of the house--a series of anemia deaths\npreceded by progressive madnesses wherein the patient would craftily", "The next spring no more pale grass and strange weeds came up in the\nshunned house's terraced garden, and shortly afterward Carrington Harris", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "accurately, _had_ died there, since after some peculiar happenings over\nsixty years ago the building had become deserted through the sheer\nimpossibility of renting it. These persons were not all cut off suddenly", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "rented the place. It is still spectral, but its strangeness fascinates\nme, and I shall find mixed with my relief a queer regret when it is torn", "widespread tales of rattling chains, cold currents of air, extinguished\nlights, or faces at the window. Extremists sometimes said the house was", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "of a staring thing which bit and chewed at her. In 1772 the servant\nZenas died, and when Mrs. Harris heard of it she laughed with a shocking", "house was generally regarded. It is likely that he felt only vexation\nwhen, in 1804, the town council ordered him to fumigate the place with", "obscurely survived the bodies murdered and buried by the mob, and\ncontinued to function in some multiple-dimensioned space along the\noriginal lines of force determined by a frantic hatred of the", "The rest is shadowy and monstrous. There was no one in the soaking\nstreet, and in all the world there was no one I dared tell. I walked" ], [ "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "Suddenly a perspiration broke out on the sleeper's forehead, and he\nleaped abruptly up, half awake. The jumble of French changed to a cry in", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "abhorrent plasticity the one object on which all my attention was\nfocussed. That object was my uncle--the venerable Elihu Whipple--who", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension.", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "commentary on the potential vitality and resilience of a man of\neighty-one. Elihu Whipple had lived according to the hygienic laws he", "I turned my electric flashlight on him and found his face averted; so\nrising and crossing to the other side of the cot, I again flashed the", "first hour, but now he was breathing with unusual irregularity,\noccasionally heaving a sigh which held more than a few of the qualities\nof a choking moan.", "frowning down on him. Again he seemed to be in the interior of a\nhouse--an old house, apparently--but the details and inhabitants were\nconstantly changing, and he could never be certain of the faces or the", "in turn watching me greedily with eyes more imaginable than visible.\nWhen I told my uncle about it he was greatly aroused; and after a tense", "Conversation, also, soon tended to dispel my sense of strangeness; and\nin time I yielded to my yawns and took my turn at slumber. My uncle", "light to see if he seemed in any pain. What I saw unnerved me most\nsurprisingly, considering its relative triviality. It must have been\nmerely the association of any odd circumstance with the sinister nature", "design to sit up together till very late, and then watch singly till\ndawn in two-hour stretches, myself first and then my companion; the\ninactive member resting on the cot.", "perturbation and with eyes that had now started open, seemed not one but\nmany men, and suggested a curious quality of alienage from himself.", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case", "night, till my uncle's growing drowsiness made me remind him to lie down\nfor his two-hour sleep.", "before, and so moved my uncle that he commenced collecting historical\ndata on the house after listening, some time subsequent to his return\nfrom the war, to the first-hand account of Doctors Chase and Whitmarsh." ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Sleep seized me quickly, and I was at once haunted with dreams of the\nmost disturbing kind. I felt, in my visions, a cosmic and abysmal", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "had ever read. It was of this world, and yet not of it--a shadowy\ngeometrical confusion in which could be seen elements of familiar things\nin most unfamiliar and perturbing combinations. There was a suggestion", "He had, he said, floated off from a very ordinary series of\ndream-pictures into a scene whose strangeness was related to nothing he", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case", "abhorrent plasticity the one object on which all my attention was\nfocussed. That object was my uncle--the venerable Elihu Whipple--who", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "perturbation and with eyes that had now started open, seemed not one but\nmany men, and suggested a curious quality of alienage from himself.", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "light to see if he seemed in any pain. What I saw unnerved me most\nsurprisingly, considering its relative triviality. It must have been\nmerely the association of any odd circumstance with the sinister nature", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension.", "frowning down on him. Again he seemed to be in the interior of a\nhouse--an old house, apparently--but the details and inhabitants were\nconstantly changing, and he could never be certain of the faces or the", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "stream of mist which curled putridly about and finally vanished up the\nchimney. I say that I saw this thing, but it is only in conscious\nretrospection that I ever definitely traced its damnable approach to", "where the mold had taken strange shapes. That suggestive patch, by the\nway, was only faintly visible when we placed our furniture and\ninstruments, and when we returned that evening for the actual vigil. For" ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "frowning down on him. Again he seemed to be in the interior of a\nhouse--an old house, apparently--but the details and inhabitants were\nconstantly changing, and he could never be certain of the faces or the", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "yells of distant multitudes who thirsted for my blood. My uncle's face\ncame to me with less pleasant association than in waking hours, and I", "abhorrent plasticity the one object on which all my attention was\nfocussed. That object was my uncle--the venerable Elihu Whipple--who", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case", "familiar and unfamiliar. For a second there flashed a degraded\ncounterfeit of a miniature of poor mad Rhoby Harris that I had seen in\nthe School of Design museum, and another time I thought I caught the", "perturbation and with eyes that had now started open, seemed not one but\nmany men, and suggested a curious quality of alienage from himself.", "and uncertain beams, that gelatinous face assumed a dozen--a score--a\nhundred--aspects; grinning, as it sank to the ground on a body that", "faces many had unmistakably borne the features of the Harris family. And\nall the while there was a personal sensation of choking, as if some\npervasive presence had spread itself through his body and sought to", "evening, and I was almost prepared when I saw--or thought I saw--amidst\nthe whitish deposits a particularly sharp definition of the \"huddled", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "dissolved and mixed in the most illogical fashion. In this kaleidoscopic\nvortex of phantasmal images were occasional snap-shots, if one might use", "the last, when a curious blend of servant and baby visages flickered\nclose to the fungous floor where a pool of greenish grease was\nspreading, it seemed as though the shifting features fought against", "Once my uncle thought he lay in a carelessly dug open pit, with a crowd\nof angry faces framed by straggling locks and three-cornered hats", "had ever read. It was of this world, and yet not of it--a shadowy\ngeometrical confusion in which could be seen elements of familiar things\nin most unfamiliar and perturbing combinations. There was a suggestion", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face" ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their", "The\n Shunned House\n\n By H. P. LOVECRAFT", "uncle and I conveyed to the shunned house two camp chairs and a folding\ncamp cot, together with some scientific mechanism of greater weight and\nintricacy. These we placed in the cellar during the day, screening the", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "abhorrent plasticity the one object on which all my attention was\nfocussed. That object was my uncle--the venerable Elihu Whipple--who", "to the shunned house in Benefit Street. That pest spot lies not far\ndistant--for Benefit runs ledgewise just above the court house along the\nprecipitous hill up which the first settlement climbed.", "structure in 1763, and followed the theme with an unusual amount of\ndetail. The shunned house, it seems, was first inhabited by William", "persistent evil beyond anything in nature as I had known it; an evil\nclearly connected with the house and not with the family. This\nimpression was confirmed by my uncle's less systematic array of", "at the shunned house from 1769 till the removal of the family in 1783,\nand had seen Mercy Dexter die. Once she hinted to the child Dutee of a", "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "End of Project Gutenberg's The Shunned House, by Howard Phillips Lovecraft", "inhabitants of the shunned house, imagination or future discovery alone\ncould determine. I wondered how many of those who had known the legends\nrealized that additional link with the terrible which my wider reading", "had ever read. It was of this world, and yet not of it--a shadowy\ngeometrical confusion in which could be seen elements of familiar things\nin most unfamiliar and perturbing combinations. There was a suggestion", "at once to examine the cellar of the shunned house itself with a new and\nexcited minuteness.", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation." ], [ "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "Then the stirring of my uncle in his sleep attracted my notice. He had\nturned restlessly on the cot several times during the latter half of the", "yells of distant multitudes who thirsted for my blood. My uncle's face\ncame to me with less pleasant association than in waking hours, and I", "Indeed, I could see that my uncle had thought deeply on the subject, and\nthat he was glad of my own interest--an open-minded and sympathetic\ninterest which enabled him to discuss with me matters at which others", "the last my uncle insisted on joining the search I had commenced, and\nafter a certain night in that house he did not come away with me. I am\nlonely without that gentle soul whose long years were filled only with", "within him. I think, on the whole, that it was this _variety_ which\nchiefly disturbed me. My uncle, as he gasped and tossed in increasing", "was queer--damnably queer--and my uncle spoke almost sheepishly, as if\nhalf expecting not to be believed, when he declared that of the strange", "uncle's going that he would understand and assist me in some vitally\nnecessary public explanations. He turned very pale, but agreed to help\nme, and decided that it would now be safe to rent the house.", "themselves and strove to form contours like those of my uncle's kindly\nface. I like to think that he existed at that moment, and that he tried", "When, in the end, my insistent pestering and maturing years evoked from\nmy uncle the hoarded lore I sought, there lay before me a strange enough", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation.", "in turn watching me greedily with eyes more imaginable than visible.\nWhen I told my uncle about it he was greatly aroused; and after a tense", "This was in 1860 and 1861, when my uncle had just begun his medical\npractise; and before leaving for the front he heard much of it from his", "of our location and mission, for surely the circumstance was not in\nitself frightful or unnatural. It was merely that my uncle's facial\nexpression, disturbed no doubt by the strange dreams which our", "English, and the hoarse voice shouted excitedly, \"My breath, my breath!\"\nThen the awakening became complete, and with a subsidence of facial\nexpression to the normal state my uncle seized my hand and began to", "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "forces of which the youngest and strongest system might well be afraid;\nbut in another moment reflected that dreams are only dreams, and that\nthese uncomfortable visions could be, at most, no more than my uncle's", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their", "perhaps more alone than he can realize. My uncle breathed heavily, his\ndeep inhalations and exhalations accompanied by the rain outside, and\npunctuated by another nerve-racking sound of distant dripping water", "and then--with a tremendous start--I recognized something about them\nwhich filled me with icy fear till I recalled the breadth of my uncle's\neducation and the interminable translations he had made from" ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few", "commentary on the potential vitality and resilience of a man of\neighty-one. Elihu Whipple had lived according to the hygienic laws he", "before, and so moved my uncle that he commenced collecting historical\ndata on the house after listening, some time subsequent to his return\nfrom the war, to the first-hand account of Doctors Chase and Whitmarsh.", "Having exhausted the Harris family of all the information it could\nfurnish, I turned my attention to early town records and deeds with a", "had preached as a physician, and but for what happened later would be\nhere in full vigor today. Only two persons suspected what did\nhappen--Carrington Harris and myself. I had to tell Harris because he", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "The doctor was a bachelor; a white-haired, clean-shaven, old-fashioned\ngentleman, and a local historian of note, who had often broken a lance", "chronicle. Long-winded, statistical, and drearily genealogical as some\nof the matter was, there ran through it a continuous thread of brooding,", "This was in 1860 and 1861, when my uncle had just begun his medical\npractise; and before leaving for the front he heard much of it from his", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their", "for Hannah Bowen, one of the two servants, died of it in the following\nJune. Eli Lideason, the other servant, constantly complained of", "was later run. It had, as rumor indeed said, been the Throckmorton\ngraveyard; but as I examined the records more carefully, I found that", "Upon the outbreak of trouble with Great Britain in 1775, William Harris,\ndespite his scant sixteen years and feeble constitution, managed to", "It may well be imagined how powerfully I was affected by the annals of\nthe Harrises. In this continuous record there seemed to me to brood a", "issued by Doctor Chad Hopkins, and showing the four deceased persons all\nunaccountably lacking in blood; and the obscure passages of poor Rhoby", "This much I knew before my insistent questioning led my uncle to show me\nthe notes which finally embarked us both on our hideous investigation.", "abhorrent plasticity the one object on which all my attention was\nfocussed. That object was my uncle--the venerable Elihu Whipple--who", "schoolteacher of middle age named Eleazar Durfee, became transfigured in\na horrible way, glaring glassily and attempting to bite the throat of\nthe attending physician. Even more puzzling, though, was the final case" ], [ "kind of harmless grayish powder which blew ash-like along the floor. One\nof earth's nethermost terrors had perished for ever; and if there be a", "of acid around and near two sides, so that when necessary I might empty\nthem all down the aperture in quick succession. After that I dumped", "The two remaining carboys I emptied down without particular result, and\nafter a time I felt it safe to shovel the earth back into the pit. It", "stream of mist which curled putridly about and finally vanished up the\nchimney. I say that I saw this thing, but it is only in conscious\nretrospection that I ever definitely traced its damnable approach to", "brought down upon my head. In that dim blend of blue and yellow the form\nof my uncle had commenced a nauseous liquefaction whose essence eludes\nall description, and in which there played across his vanishing face", "Suddenly my spade struck something softer than earth. I shuddered, and\nmade a motion as if to climb out of the hole, which was now as deep as", "to bid me farewell. It seems to me I hiccupped a farewell from my own\nparched throat as I lurched out into the street; a thin stream of grease", "Now the irony is this. In this walk, so many times repeated, the world's\ngreatest master of the terrible and the bizarre was obliged to pass a", "at things more potent than luminosity. This I perceived with unhealthy\nsharpness despite the fact that two of my other senses were violently\nassailed. For on my ears rang the reverberations of that shocking", "perhaps more alone than he can realize. My uncle breathed heavily, his\ndeep inhalations and exhalations accompanied by the rain outside, and\npunctuated by another nerve-racking sound of distant dripping water", "almost automatically I leaped up and turned about to grasp the\ndestructive instruments which we had left trained on the moldy spot\nbefore the fireplace. As I turned, I dreaded what I was to see; for the", "me to the place where my terrible work was still unfinished. And in the\nend I went, wet, hatless, and dazed in the morning light, and entered", "my nostrils on wholesome air. Still nothing occurred to reward my\nwatching; and I yawned repeatedly, fatigue getting the better of\napprehension.", "The grease was gone, for the moldy floor was porous. And in front of the\nfireplace was no vestige of the giant doubled-up form traced in niter.", "issued by Doctor Chad Hopkins, and showing the four deceased persons all\nunaccountably lacking in blood; and the obscure passages of poor Rhoby", "how I lived through it. I did faint after emptying the fourth carboy,\nwhich I had to handle after the fumes had begun to penetrate my mask;", "the chimney and fireplace beyond. It was all eyes--wolfish and\nmocking--and the rugose insect-like head dissolved at the top to a thin", "frowning down on him. Again he seemed to be in the interior of a\nhouse--an old house, apparently--but the details and inhabitants were\nconstantly changing, and he could never be certain of the faces or the", "first hour, but now he was breathing with unusual irregularity,\noccasionally heaving a sigh which held more than a few of the qualities\nof a choking moan.", "The rest is shadowy and monstrous. There was no one in the soaking\nstreet, and in all the world there was no one I dared tell. I walked" ], [ "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "particular house on the eastern side of the street; a dingy, antiquated\nstructure perched on the abruptly rising side hill, with a great unkempt", "front door was often entered in quest of shudders. The small-paned\nwindows were largely broken, and a nameless air of desolation hung round", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "Carrington Harris, last of the male line, knew it only as a deserted and\nsomewhat picturesque center of legend until I told him my experience. He", "accurately, _had_ died there, since after some peculiar happenings over\nsixty years ago the building had become deserted through the sheer\nimpossibility of renting it. These persons were not all cut off suddenly", "to the shunned house in Benefit Street. That pest spot lies not far\ndistant--for Benefit runs ledgewise just above the court house along the\nprecipitous hill up which the first settlement climbed.", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "yard dating from a time when the region was partly open country. It does\nnot appear that he ever wrote or spoke of it, nor is there any evidence\nthat he even noticed it. And yet that house, to the two persons in", "within--for the house was repulsively damp even in dry weather, and in\nthis storm positively swamp-like. I studied the loose, antique masonry", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "widespread tales of rattling chains, cold currents of air, extinguished\nlights, or faces at the window. Extremists sometimes said the house was", "structure in 1763, and followed the theme with an unusual amount of\ndetail. The shunned house, it seems, was first inhabited by William", "The\n Shunned House\n\n By H. P. LOVECRAFT", "a sane, conservative physician of the old school, and for all his\ninterest in the place was not eager to encourage young thoughts toward\nthe abnormal. His own view, postulating simply a building and location", "house was generally regarded. It is likely that he felt only vexation\nwhen, in 1804, the town council ordered him to fumigate the place with", "was later run. It had, as rumor indeed said, been the Throckmorton\ngraveyard; but as I examined the records more carefully, I found that", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their" ], [ "whom I knew. Only the notebooks of my antiquarian uncle, Doctor Elihu\nWhipple, revealed to me at length the darker, vaguer surmises which", "Not till my adult years did my uncle set before me the notes and data\nwhich he had collected concerning the shunned house. Doctor Whipple was", "the like. All of this material I cannot hope to give, for my uncle was a\ntireless antiquarian and very deeply interested in the shunned house;\nbut I may refer to several dominant points which earn notice by their", "What I heard in my youth about the shunned house was merely that people\ndied there in alarmingly great numbers. That, I was told, was why the", "original owners had moved out some twenty years after building the\nplace. It was plainly unhealthy, perhaps because of the dampness and\nfungous growths in the cellar, the general sickish smell, the drafts of", "prosperous and honorable family who built it. Yet from the first a taint\nof calamity, soon increased to boding significance, was apparent. My\nuncle's carefully compiled record began with the building of the", "structure in 1763, and followed the theme with an unusual amount of\ndetail. The shunned house, it seems, was first inhabited by William", "The general fact is, that the house was never regarded by the solid part\nof the community as in any real sense \"haunted.\" There were no", "In short, it seemed to my uncle and me that an incontrovertible array\nof facts pointed to some lingering influence in the shunned house;", "In my childhood the shunned house was vacant, with barren, gnarled and\nterrible old trees, long, queerly pale grass and nightmarishly misshapen", "accurately, _had_ died there, since after some peculiar happenings over\nsixty years ago the building had become deserted through the sheer\nimpossibility of renting it. These persons were not all cut off suddenly", "at the shunned house from 1769 till the removal of the family in 1783,\nand had seen Mercy Dexter die. Once she hinted to the child Dutee of a", "before, and so moved my uncle that he commenced collecting historical\ndata on the house after listening, some time subsequent to his return\nfrom the war, to the first-hand account of Doctors Chase and Whitmarsh.", "widespread tales of rattling chains, cold currents of air, extinguished\nlights, or faces at the window. Extremists sometimes said the house was", "The\n Shunned House\n\n By H. P. LOVECRAFT", "yard dating from a time when the region was partly open country. It does\nnot appear that he ever wrote or spoke of it, nor is there any evidence\nthat he even noticed it. And yet that house, to the two persons in", "The house was--and for that matter still is--of a kind to attract the\nattention of the curious. Originally a farm or semi-farm building, it", "there must lie buried beneath the house one of those vampires--the dead\nwho retain their bodily form and live on the blood or breath of the\nliving--whose hideous legions send their preying shapes or spirits", "commentary on the potential vitality and resilience of a man of\neighty-one. Elihu Whipple had lived according to the hygienic laws he", "anthropological and antiquarian articles in the _Revue des Deux Mondes_.\nFor the venerable Elihu Whipple was muttering _in French_, and the few" ] ]

[ "What is so mysterious about the house?", "What is discovered in the basement?", "What language does Whipple's nephew start babbling in?", "What does his uncle transform into?", "Why do they arm themselves in the cellar?", "What is ordered to the cellar according to the plan?", "What was found in the hole?", "How many barrels were emptied?", "What happens to the house at the end?", "What was Dr. Whipple keeping records of?", "What form of protection did the protagonist and Dr. Whipple use while spending the night in the house?", "What language was Dr. Whipple speaking in his sleep?", "The protagonist's Uncle transformed into what?", "Where was the old abandoned house located?", "How did the protagonist know there was a monster in the hole that was dug in the cellar?", "What awakened the protagonist while he was sleeping?", "What happened to the members of the Harris family?", "After the protagonist awakened from fainting, what did he discover?", "What happened to the house after the monster dies?", "Tossing and turning as he naps what else does Dr. Elihu Whipple start doing? ", "What strange visions did Dr. Elihu Whipple experience while napping? ", "Whose were some of the faces that Dr. Elihu Whipple nap visions see? ", "What did Dr. Elihu Whipple's Nephew find in the shunned house? ", "Who was the protagonist's uncle? ", "How far back do Dr. Elihu Whipple records go? ", "What happens to the protafonist once he empties the fourth barrel? ", "Where specifically was this old abandoned house? ", "Dr. Elihu Whipple kept what kind of records of people who have lived in this abandoned house? " ]

[ [ "Mysterious deaths of its inhabitants.", "The foul smell, weeds in the yard, whitish fungi in the cellar" ], [ "A strange yellowish vapour.", "yellowish vapor" ], [ "French.", "French" ], [ "A monster", "a monster" ], [ "To destroy supernatural beings.", "There is a monster" ], [ "A gas mask, digging tools, and sulfuric acid.", "barrels of acid, gas mask, digging tools" ], [ "A monster's elbow.", "The elbow of a gigantic monster." ], [ "Six", "four" ], [ "It is rented to another family.", "Rented." ], [ "The mysterious sicknesses and deaths of many who had previously lived in the house.", "The mysterious sickness and death of people who have lived in the house. " ], [ "Flamethrowers and a Crookes Tube.", "Military flamethrowers." ], [ "French", "french" ], [ "A monster with \"blackened, decaying features\" and dripping claws. ", "A monster " ], [ "Benefit Street.", "Benefit Street." ], [ "He found the monster's elbow.", "Digging." ], [ "A horrific scream.", "A scream" ], [ "They died in the house.", "They died in the shunned house." ], [ "The strange fungus had turned to ash.", "Fungus" ], [ "The house is rented to another family and appears to be normal.", "it became normal" ], [ "Babbling in French. ", "Babbling in French." ], [ "Lying in a open pit. ", "lying in an open pit with faces staring down" ], [ "The Harris family members' faces. ", "Harris Family." ], [ "The elbow of a gigantic monster. ", "A gigantic monster." ], [ "Dr. Elihu Whipple. ", "Dr. Elihu Whipple." ], [ "Over one hundred years. ", "100 hundred years." ], [ "He faints. ", "He faints. " ], [ "On Benefit Street. ", "benefit st" ], [ "Their mysterious illnesses and deaths.", "Extensive records" ] ]

[ [ "of Costaguana had been so much liked and trusted by the fierce old\nDictator.", "\"Poor Costaguana! Before, it was everything for the Padres, nothing for\nthe people; and now it is everything for those great politicos in Sta.\nMarta, for negroes and thieves.\"", "ruined after a lot of revolutions. And that's your Costaguana in a\nnutshell.\"", "Excellentissimo Senor don Vincente Ribiera, the Dictator of Costaguana,\nhad described the National Central Railway in his great speech at the\nturning of the first sod.", "all those foreigners was gratifying. \"You have heard this one. He is an\nenlightened well-wisher. It is pleasant to think that the prosperity of\nCostaguana is of some use to the world.\"", "\"Costaguana for the Costaguaneros,\" interjected the doctor,\nsardonically. \"It is a fine country, and they have raised a fine crop of\nhates, vengeance, murder, and rapine--those sons of the country.\"", "The doctor, lifting his head, answered by a long, lifeless stare and the\nwords, \"Perhaps because I have lived too long in Costaguana.\"\n\nSotillo had a gleam of white teeth under the black moustache.", "wealthy merchants of Costaguana, had already lost a considerable part of\nhis fortune in forced loans to the successive Governments. He was a man\nof calm judgment, who never dreamed of pressing his claims; and when,", "After all, with his English parentage and English upbringing, he\nperceived that he was an adventurer in Costaguana, the descendant of", "Concession had been granted to him and his descendants for ever. He\nimplored his son never to return to Costaguana, never to claim any\npart of his inheritance there, because it was tainted by the infamous", "Government bethought itself of that valuable asset. It was an ordinary\nCostaguana Government--the fourth in six years--but it judged of its", "believe in the reform of Costaguana. And now the mine was back again in\nits old path, with the disadvantage that henceforth it had to deal not", "It opened the road to tyranny; and, ever since, the rest of Costaguana\nhangs like a millstone round our necks. The Occidental territory is", "the even tenor of his career. At last, in true Costaguana fashion, the\nFiscal of Tonoro, who was ambitious of the glory of having reduced the", "life of Costaguana could offer. He used to confess afterwards that the\nevents which followed surpassed his imagination. To begin with, Sulaco\n(because of the seizure of the cables and the disorganization of the", "Joseph Mitchell prided himself on his profound knowledge of men and\nthings in the country--cosas de Costaguana. Amongst these last he\naccounted as most unfavourable to the orderly working of his Company", "Avellanos was quite aware of his new and unexpected vocation, which in\nCostaguana was generally the speciality of half-educated negroes and", "llanos and try to make a little money in peace and quietness. Senora,\nyou know, all Costaguana knows--what do I say?--this whole South", "Less than six months after the President-Dictator's visit, Sulaco\nlearned with stupefaction of the military revolt in the name of national", "which was covered by another army with the President-Dictator in its\nmidst. Don Jose became quite animated with a great flow of speech,\nbending forward anxiously under the steady eyes of his daughter. Decoud," ], [ "At about that time, in the Intendencia of Sulaco, Charles Gould was\nassuring Pedrito Montero, who had sent a request for his presence there,", "by the labours and the pomps of his entry into Sulaco, had been getting\nhold of the administrative machine by making appointments, giving\norders, and signing proclamations. Alone with Charles Gould in the", "of Sulaco after Don Carlos Gould. But he is good-natured, and let me\nmake friends with him.\"", "Most of the Europeans in Sulaco were there, rallied round Charles Gould,\nas if the silver of the mine had been the emblem of a common cause, the", "Unless the mine was good business it could not be touched. He had to\ninsist on that aspect of the enterprise. It was his lever to move\nmen who had capital. And Charles Gould believed in the mine. He", "on Charles Gould's table. Mrs. Gould had looked several times over\nhis shoulder as he wrote; but the Senor Administrador, standing", "consultation by Charles Gould and Senor Avellanos, were known to a\nprominent business man in the United States, who for twenty minutes or\nso in every month gave his undivided attention to Sulaco affairs. At", "Charles Gould in his preliminary travels on the Campo added his small\ntrain of animals to the thin stream of traffic carried over the mountain\npasses between the Sta. Marta upland and the Valley of Sulaco. There", "confidential communications passing between Charles Gould, the King\nof Sulaco, and the head of the silver and steel interests far away in\nCalifornia, the conviction was growing that any attempt made by men of", "which the capital of their countries was engaged. The only lady of that\ncompany was Mrs. Gould, the wife of Don Carlos, the administrator of the\nSan Tome silver mine. The ladies of Sulaco were not advanced enough to", "\"He's at the head of immense silver and iron interests,\" Charles Gould\nobserved.", "Charles Gould, after leaving the doctor and the engineer at the Casa\nViola, entered the town by the harbour gate, all those that had meant to", "the San Tome silver mine had an immense influence over all these Spanish\nDons. He had also one of the best houses in Sulaco, and the Gould\nhospitality was beyond all praise.", "And the great man had liked this imperturbable assurance. The secret\nof it was that to Charles Gould's mind these uncompromising terms were", "was a putup job on the part of Charles Gould, in order to get hold\nof that immense treasure all to himself. The doctor, observant and\nself-possessed, muttered, \"He is very capable of that.\"", "\"Why, yes,\" Charles pronounced, slowly. \"The Gould Concession has struck\nsuch deep roots in this country, in this province, in that gorge of the", "Charles Gould that at the approach of an armed force he would defend the\ngorge just long enough to give himself time to destroy scientifically\nthe whole plant, buildings, and workshops of the mine with heavy charges", "mining enterprises, knew something of Costaguana, and was no stranger to\nthe name of Gould. They had talked together with some intimacy which\nwas made possible by the difference of their ages. Charles wanted now", "But Charles Gould, openly preoccupied now, gave not a sign, made no\nsound. The impenetrability of the embodied Gould Concession had its", "Charles Gould rode on, and turned into the archway of his house. In the\npatio littered with straw, a practicante, one of Dr. Monygham's native" ], [ "Mrs. Viola was an Italian, too, a native of Spezzia, and though\nconsiderably younger than her husband, already middle-aged. She had a", "She talked to him in Italian, of course, and he thanked her with calm\ndignity. An old Garibaldino was grateful to her from the bottom of his", "\"He think of the casa! He!\" gasped Signora Viola, crazily. She struck\nher breast with her open hands. \"I know him. He thinks of nobody but\nhimself.\"", "This camp-master was the Italian sailor whom all the Europeans in\nSulaco, following Captain Mitchell's mispronunciation, were in the", "Italians; she has lived a long time in Italy, I believe, and she took\na special fancy to that old Garibaldino. A remarkable chap enough. A", "\"Ah, yes!\" said Antonia, thoughtfully. \"It is known that this Italian\nhas a great influence.\"", "middle-aged, impoverished Italian marquis. She now mourned that man, who\nhad known how to give up his life to the independence and unity of his", "\"Albergo d'Italia Una,\" said the old Garibaldino, looking away for a\nmoment. \"More in memory of those who have died,\" he added, \"than for the", "\"He has not stopped very long with us. There is no praise from strangers\nto be got here,\" Signora Teresa said tragically. \"Avanti! Yes! That is", "\"And is it for ever, signora?\" he asked.\n\n\"For as long as you like.\"\n\n\"Bene. Then the place must be named, It was not worth while before.\"", "I did not hesitate to make that central figure an Italian. First of\nall the thing is perfectly credible: Italians were swarming into the", "They heard him wheel his horse away from the shutters. The party he led\nwere babbling excitedly in Italian and Spanish, inciting each other to\nthe pursuit. He put himself at their head, crying, \"Avanti!\"", "Old Giorgio, in profound ignorance of his wife's views and hopes, had a\ngreat regard for his young countryman. \"A man ought not to be tame,\" he", "Parrochetti, the famous Italian sculptor--was working here for two\nyears--thought very highly of our old bishop. . . . There! I am very\nmuch at your service now.\"", "\"The Capataz of Cargadores, that Italian sailor of whom I have written\nto you before, has saved him from an ignoble death. That man seems", "This came from Giorgio Viola, who went on talking for a while of his\ndead wife; while the two, sitting side by side, never looked at each\nother. Then the old man ceased; and Linda, motionless, began to speak.", "studied in Rome, and could speak Italian. The Capataz was known to visit\nthe old Dominican Convent at night. An old woman who served the Grand", "of the hotel-keeper who was a countryman of his. Old Giorgio Viola,\na Genoese with a shaggy white leonine head--often called simply \"the", "the Italia Una, old Giorgio shouted to me to go for the English doctor.\nLater on, that poor dying woman wanted to see me, as you know. Senor,", "towards the Casa Viola, on their way to the railway yards by the\nharbour. The Italian drivers saluted him from the foot-plate with raised" ], [ "Nostromo, the miscalled Capataz de Cargadores, had made for himself,\nunder his rightful name, another public existence, but modified by", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "Plaza and shying stones at the windows of the Intendencia. Nostromo\n(that is the name they call him by here) was pointing out to me his\nCargadores interspersed in the mob.", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"Yes. His shadow in the lighted room,\" said Nostromo, in a contemptuous\ntone. Leaning back with folded arms at the foot of the immense building,", "A sudden dread came upon the fearless and incorruptible Nostromo. He\ndared not utter the name in his mind. The slight pause only imparted a\nmarked weight and solemnity to the changed end of the phrase.", "Dr. Monygham, pulling round in the police-galley, heard the name pass\nover his head. It was another of Nostromo's triumphs, the greatest, the", "\"I went, indeed!\" broke in Nostromo. \"And for the sake of what--tell\nme?\"\n\n\"Ah! that is your own affair,\" the doctor said, roughly. \"Do not ask\nme.\"", "\"Si, viejo. It is me. Wait.\"\n\nNostromo, after barricading the door and closing the shutters carefully,\ngroped upon a shelf for a candle, and lit it.", "\"No,\" said Nostromo, looking away carelessly. \"It was a lie. I love thee\nas much as ever.\"\n\n\"Is that true?\" she cooed, joyously, her cheeks still wet with tears.", "\"No,\" assented Nostromo, as the doctor paused, \"there is no need to talk\nof dead men. But I am not dead yet.\"", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "Nostromo, and in a tone which for him was gentle), even to her, he had\nsaid once, \"Really, it is most unreasonable to demand that a man", "Of that Decoud had not been aware. Of course, it was too dark to see,\nand it was only when Nostromo put his hand upon its painter fastened to" ], [ "At that time Nostromo had been already long enough in the country\nto raise to the highest pitch Captain Mitchell's opinion of the\nextraordinary value of his discovery. Clearly he was one of those", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "disposition. And Nostromo was of the people. So he only grunted\nincredulously.", "Nostromo had been growing rich very slowly. It was an effect of his\nprudence. He could command himself even when thrown off his balance.", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "\"Ah! You do not see it,\" began Nostromo, scathingly, gathering scorn as\nhe went on. \"Three men in half an hour would see that no ground had been", "\"Yes. His shadow in the lighted room,\" said Nostromo, in a contemptuous\ntone. Leaning back with folded arms at the foot of the immense building,", "\"No doubt,\" mumbled Nostromo, loud enough to be overheard. \"There may be\neven more than two fools in this place. Who knows?\"\n\n\"And that is my affair,\" said the doctor, curtly.", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "symbol of the supreme importance of material interests. They had loaded\nit into the lighter with their own hands. Nostromo recognized Don Carlos\nGould, a thin, tall shape standing a little apart and silent, to whom", "\"They are trying for a sight of the Isabels,\" muttered Nostromo, \"in\norder to make for the harbour in a straight line and seize the Custom", "the ranks, very proud of himself. Nostromo had not even looked at him.", "The doctor breathed freely. \"Listen, Capataz,\" he said, stretching out\nhis arm almost affectionately towards Nostromo's shoulder. \"I am going", "As time went on, Nostromo discovered his preference for the younger of\nthe two. They had some profound similarities of nature, which must\nexist for complete confidence and understanding, no matter what", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach," ], [ "\"I am not running away, you understand,\" he wrote on. \"I am simply\ngoing away with that great treasure of silver which must be saved at", "before you open your lips for a confidence, that this treasure may be\nleft safely here for hundreds of years. Time is on its side, senor. And\nsilver is an incorruptible metal that can be trusted to keep its value", "\"You know that I never approved of the silver being sent away,\" the\ndoctor began at once, as a preliminary to the narrative of his night's", "where the silver is hidden. Did I? So you know nothing. And suppose I\nlied? Eh?\"", "\"Listen to reason, Padrona,\" he said. \"I am needed to save the silver of\nthe mine. Do you hear? A greater treasure than the one which they say", "\"And I have sat alone at night with my revolver in the Company's\nwarehouse time and again by the side of that other Englishman's heap of\nsilver, guarding it as though it had been my own.\"", "perfectly black, and so narrow that he fetched up against the opposite\nwall. The door had been instantly slammed. He knew where they had put\nhim. This was the strong room of the Custom House, whence the silver", "Moreover, that silver, which would never have come down if her husband\nhad been made acquainted with the news brought by Decoud, had been in", "silver that was deposited in this Custom House? Answer me that! You\nstole it. You were a party to stealing it. It was stolen from the", "silver, being uttered simply and with many mental reservations. Surprise\nand rage rendered him speechless, and the doctor pursued, practically", "\"Well, if so, then the silver will be still more safe. Let it come down,\nsenora. Let it come down, so that it may go north and return to us in\nthe shape of credit.\"", "of silver-bricks, erected by the silent work of evil spirits, between\nher and her husband. He seemed to dwell alone within a circumvallation\nof precious metal, leaving her outside with her school, her hospital,", "\"I begged him not to think any more about the silver, and he smiled. A\nsmile that went to my heart, sir. 'It was no mistake,' I told him. 'It", "of civil war forced upon him the reflection that, after all, the great\nsilver mine was fated to become the spoil of the victors. But caution\nwas necessary. He began by assuming a dark and mysterious attitude", "Here in his very grasp was one of the men concerned in the removal of\nthe silver. Sotillo's temperament was of that sort that he experienced", "There was also another curious point about the man. Once in the course\nof some quarrel the sailor threatened him: \"What's to prevent me\nreporting ashore what you have told me about that silver?\"", "hope; he became confidential. \"The silver might have been indeed put on\nboard the lighter, but it was not conceivable that it should have been\ntaken out to sea.\" The doctor, watching every word, nodded slightly,", "hours ago, we thought the silver of the mine safe in the Custom House\nvaults till the north-bound steamer came to take it away. And as long as", "\"A treasure of silver!\" she stammered out. Then pressed on faster:\n\"What? Where? How did you get it, Giovanni?\"", "\"I spoke to you openly as to a man as desperate as myself,\" explained\nthe Capataz. \"The silver must be saved from the Monterists. I told" ], [ "Decoud and of the silver on the island. The letters he carried to the\nGeneral, however, made brief mention of the loss of the lighter, as\nhaving its bearing upon the situation in Sulaco. In the circumstances,", "islands. There was not a hint of them to be seen, as if they had sunk to\nthe bottom of the gulf. He threw himself down by the side of Decoud at", "the confidence of Decoud's fate, of his own, into the secret of the\nsilver. That doctor was an enemy of the people--a tempter. . . .", "name, Decoud's name, and all about the loading of the silver. . . .\nThe lighter was cut in two. He was grovelling in abject terror before", "him--there's no saying which. There was Gould's silver, on which rests\nthe remnant of our hopes. Decoud's retreat had to be thought of, too.", "Moreover, that silver, which would never have come down if her husband\nhad been made acquainted with the news brought by Decoud, had been in", "remains logical in wishing to save this big lot of silver. Decoud's plan\nof a counter-revolution may be practicable or not, it may have a", "There was nothing for Decoud but to remain on the island. He received\nfrom Nostromo's hands whatever food the foresight of Captain Mitchell", "Nostromo had, indeed, found the lighter's boat, which he had left on\nthe Great Isabel with Decoud, floating empty far out in the gulf. He was", "At the end of his first day on the Great Isabel, Decoud, turning in his\nlair of coarse grass, under the shade of a tree, said to himself--\n\n\"I have not seen as much as one single bird all day.\"", "mercy. It was much better to leave him quite alone since he was keeping\nso still. But to trust to his silence became every moment a greater\nstrain upon Decoud's composure.", "the end to land somewhere, and how could he conceal his cargo from the\nknowledge of the people ashore? We dismissed that consideration from our\nminds. Moreover, Decoud was going. There have been occasions when the", "there would be no steamer for a month, as far as the mail service went;\nbut Decoud had to take his chance of that. The island was his only", "tongue, since there was no one to trust. The treasure would be lost,\nprobably--unless Decoud. . . . And his thought came abruptly to an end.", "torn myself away from that accursed treasure for her. For that child I\nwould have left boxes and boxes of it--full. And Decoud took four. Four", "A couple of years before Nostromo had spent a whole Sunday, all alone,\nexploring the island. He explained this to Decoud after their task was", "It was heard distinctly by Decoud and Nostromo. The Capataz understood\nits meaning. They had made out the Isabels, and were going on now in", "\"It doesn't require much bravery to pull a trigger behind a bush,\"\nmuttered Decoud to himself. \"Fortunately, the night is dark, or there\nwould be but little chance of saving the silver of the mine.\"", "she would lie concealed. Decoud was surprised at the grimness of his\nanxiety. To him the removal of the treasure was a political move. It was\nnecessary for several reasons that it should not fall into the hands of", "Decoud lay on the silver boxes panting. All his active sensations and\nfeelings from as far back as he could remember seemed to him the maddest" ], [ "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"Am I to understand, senor,\" Nostromo went on in a deliberate and, as it\nwere, watchful tone, \"that Sotillo thinks the treasure has been saved by\nsome means?\"", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "Of that Decoud had not been aware. Of course, it was too dark to see,\nand it was only when Nostromo put his hand upon its painter fastened to", "It was heard distinctly by Decoud and Nostromo. The Capataz understood\nits meaning. They had made out the Isabels, and were going on now in", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "A sudden dread came upon the fearless and incorruptible Nostromo. He\ndared not utter the name in his mind. The slight pause only imparted a\nmarked weight and solemnity to the changed end of the phrase.", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"They are trying for a sight of the Isabels,\" muttered Nostromo, \"in\norder to make for the harbour in a straight line and seize the Custom", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "\"Ah! You do not see it,\" began Nostromo, scathingly, gathering scorn as\nhe went on. \"Three men in half an hour would see that no ground had been", "\"I went, indeed!\" broke in Nostromo. \"And for the sake of what--tell\nme?\"\n\n\"Ah! that is your own affair,\" the doctor said, roughly. \"Do not ask\nme.\"", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "Nostromo had been growing rich very slowly. It was an effect of his\nprudence. He could command himself even when thrown off his balance.", "At that time Nostromo had been already long enough in the country\nto raise to the highest pitch Captain Mitchell's opinion of the\nextraordinary value of his discovery. Clearly he was one of those", "were an infatuation for another woman. Nostromo's mission is to save\nthe silver. The plan is to load it into the largest of the Company's" ], [ "Old Giorgio only moved his head sideways absently. Nostromo pointed\nafter the Goulds' carriage, nearing the grass-grown gate in the old town\nwall that was like a wall of matted jungle.", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "\"Sotillo, I tell you. Who else? Tortured--of course. But why shot?\" The\ndoctor looked fixedly at Nostromo, who shrugged his shoulders slightly.", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "priest, as priest, was nothing, incapable of doing either good or harm.\nNostromo did not even dislike the sight of them as old Giorgio did. The", "come back to fetch away the girls.\" She changed swiftly into Spanish to\naddress Nostromo. \"Why are you wasting time? Old Giorgio's wife wishes\nto see you.\"", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"You see--\" murmured old Viola to his wife. Signora Teresa was silent\nnow. Outside Nostromo laughed.\n\n\"I can hear the padrona is not dead.\"", "\"Because I don't love thee any more,\" said Nostromo, deliberately, after\na moment of reflective silence.", "Linda raised her eyes to her face for a moment, but old Giorgio shouted\napologetically--\n\n\"She is a little upset.\"\n\nOutside Nostromo shouted back with another laugh--", "\"Knocked overboard and drowned,\" cried Nostromo's voice confidently out\nof the black wastes of sky and sea around the islet. \"Keep close in the", "Nostromo had listened with profound attention. \"You have made up your\nmind, then, to a speedy death,\" he muttered through his clenched teeth.", "\"But why shot?\" the doctor again asked himself, audibly. This time he\nwas answered by a dry laugh from Nostromo.", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "She was not then invoking the saint himself, but calling upon Nostromo,\nwhose patron he was. And Giorgio, motionless on the chair by her side,\nwould be provoked by these reproachful and distracted appeals.", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed." ], [ "\"I can. I will,\" Mrs. Gould declared. \"A word will be enough for a man\nlike Nostromo.\"\n\nThe doctor smiled sourly.", "symbol of the supreme importance of material interests. They had loaded\nit into the lighter with their own hands. Nostromo recognized Don Carlos\nGould, a thin, tall shape standing a little apart and silent, to whom", "Gould. But her word was law. He accepted her denial like an inexplicable\nfatality affirming the victory of Nostromo's genius over his own. Even", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "Mrs. Gould. Nostromo selected that lighter for the work because she\nwas the best sailing and the strongest boat of all the Company's fleet.", "\"Nostromo!\" Mrs. Gould whispered, bending very low. \"I, too, have hated\nthe idea of that silver from the bottom of my heart.\"", "\"Mrs. Gould, you are wanted. Do you know what has happened? You remember\nwhat I told you yesterday about Nostromo. Well, it seems that a lancha,", "At that time Nostromo had been already long enough in the country\nto raise to the highest pitch Captain Mitchell's opinion of the\nextraordinary value of his discovery. Clearly he was one of those", "It was heard distinctly by Decoud and Nostromo. The Capataz understood\nits meaning. They had made out the Isabels, and were going on now in", "The incomparable Nostromo, the Capataz, the respected and feared Captain\nFidanza, the unquestioned patron of secret societies, a republican like", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "merchant from Esmeralda. Nostromo, too, had recognized him. And they\ngazed at each other across the body, lying with its naked feet higher", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "of Nostromo. He has done for Separation as much as anybody else, and,\"\nadded Captain Mitchell, \"has got less than many others by it--when it", "to Mrs. Gould, the providence of the Viola family, but reverted to what\nhe called \"our great Nostromo.\"", "\"We are out in the gulf now,\" said the calm voice of Nostromo. A moment\nafter he added, \"Senor Mitchell has lowered the light.\"\n\n\"Yes,\" said Decoud; \"nobody can find us now.\"", "the legs. They are here, Mrs. Gould. I mean Nostromo and--and Giselle.\nThe negroes brought him in to the first-aid hospital near the harbour.", "Nostromo detected the ironic tone. \"I dare say, Senor Don Martin,\" he\nsaid, moodily. \"There are very few things that I am not equal to.", "\"You have returned,\" he said, with shaky dignity. \"Ah! Very well! I----\"\n\nHe broke off. Nostromo, leaning back against the table, his arms folded\non his breast, nodded at him slightly." ], [ "were an infatuation for another woman. Nostromo's mission is to save\nthe silver. The plan is to load it into the largest of the Company's", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"They are trying for a sight of the Isabels,\" muttered Nostromo, \"in\norder to make for the harbour in a straight line and seize the Custom", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "\"They are trying to make out where they are,\" said Decoud in a whisper.\nAgain he leaned over and put his fingers into the water. \"We are moving\nquite smartly,\" he informed Nostromo.", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"Am I to understand, senor,\" Nostromo went on in a deliberate and, as it\nwere, watchful tone, \"that Sotillo thinks the treasure has been saved by\nsome means?\"", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "\"As taking out the accursed silver to sea was my affair,\" retorted\nNostromo. \"I see. Bueno! Each of us has his reasons. But you were the", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "\"We are out in the gulf now,\" said the calm voice of Nostromo. A moment\nafter he added, \"Senor Mitchell has lowered the light.\"\n\n\"Yes,\" said Decoud; \"nobody can find us now.\"", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "Of that Decoud had not been aware. Of course, it was too dark to see,\nand it was only when Nostromo put his hand upon its painter fastened to", "\"Ah! You do not see it,\" began Nostromo, scathingly, gathering scorn as\nhe went on. \"Three men in half an hour would see that no ground had been" ], [ "Gould.", "Gould is neither a coward nor an empty talker. You will admit that?\" He\nwaited. \"Well?\"", "Gould, besides knowing thoroughly what he was about, had shown himself\na real hustler. These facts caused them to be well disposed towards his", "\"Ah, yes! Gould. What sort of a man is he?\"", "Gould had pinned his faith. Amongst the cries of the mob not the least\nloud had been the cry of death to foreigners. It was, indeed, a lucky", "Mr. Gould, senior, defended himself from this fatal favour with many\narguments and entreaties, but without success. He knew nothing of", "Just as years ago, calmly, from the conviction of practical necessity,\nstronger than any abstract political doctrine, Henry Gould had drawn", "Loyalty to Mrs. Gould could not, however, leave out of account the\nsafety of her husband. The doctor had contrived to be in town at the", "\"You have a poor opinion of that move, doctor? But why? Charles Gould\nhas got to play his game out, though he is not the man to formulate his", "Charles Gould, with a careworn calmness which secured for him at once\nhis wife's anxious sympathy, assured her that he was not comparing. He", "Charles Gould had turned round to listen patiently, leaning his elbow on\nthe balustrade. He shook his head a little, refusing, almost touched by", "to Mrs. Gould's humanizing influence. The doctor, with his habit of\nsceptical, bitter speech, had no other means of showing his profound\nrespect for the character of the woman who was known in the country as", "his thoughts; but the Gould Concession had insidiously corrupted his\njudgment. He might have known, he said to himself, leaning over the", "Charles Gould smiled at the round, startled eyes of the dealer in hides,\nwho was murmuring hastily, \"Just so. Just so.\" And now he was going.", "Gould, the hero of the Occidental Province, presented by Don Jose\nAvellanos, the hereditary friend of the family.", "the end they make for the safety of the Gould Concession. And he defers\nto her because he trusts her perhaps, but I fancy rather as if he wished", "perhaps, before our very eyes. But look even at that, he has idealized\nthis fact to a point--\" He paused. \"Mrs. Gould, are you aware to what", "Charles Gould, on his part, had been obliged to keep the idea of wealth\nwell to the fore; but he brought it forward as a means, not as an end.", "his discoveries. He was ecstatic. Charles Gould glanced down at him\ncourteously.", "\"Yes,\" said Mrs. Gould, doubtfully.\n\n\"You don't seem convinced,\" Decoud went on again in French. \"Say, then,\nin my passions.\"" ], [ "Nostromo had listened with profound attention. \"You have made up your\nmind, then, to a speedy death,\" he muttered through his clenched teeth.", "\"Knocked overboard and drowned,\" cried Nostromo's voice confidently out\nof the black wastes of sky and sea around the islet. \"Keep close in the", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"Teresa is dead,\" remarked the doctor, absently, while his mind\nfollowed a new line of thought suggested by what might have been called\nNostromo's return to life. \"She died, the poor woman.\"", "Hirsch, when ordered forward by Nostromo, had not returned into his\nfirst hiding-place. He had fallen near the mast, and had no strength to", "Long after he had vanished, Nostromo, lifting his eyes up to the sky,\nmuttered, \"I am not dead yet.\"", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "A tremendous shout from one end of the ship to the other stopped his\nguffaw. Nostromo had leaped overboard; and his black head bobbed up far", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "Nostromo himself thought that this was perhaps the end of his desperate\nadventure. He, too, had been flung away from the long tiller, which", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "\"No,\" assented Nostromo, as the doctor paused, \"there is no need to talk\nof dead men. But I am not dead yet.\"", "\"Was it lost, though?\" the doctor exclaimed. \"I've always felt that\nthere was a mystery about our Nostromo ever since. I do believe he wants\nnow, at the point of death----\"", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "After hearing these words, Nostromo closed his eyes, uttered no word,\nmade no movement. Outside the door of the sick-room Dr. Monygham,", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "slowly. The doctor hobbled by his side till, within a stone's throw from\nthe Casa Viola, Nostromo stopped again.", "\"Sotillo, I tell you. Who else? Tortured--of course. But why shot?\" The\ndoctor looked fixedly at Nostromo, who shrugged his shoulders slightly.", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"" ], [ "\"And so you are going at last to marry our Linda. She is terrible. Ah!\nnow she will understand better since you have told her you love her. She\nwill not be so fierce.\"", "\"He'll see it, I am sure. He must put an end to all this by marrying\nLinda at once,\" pronounced the first lady of Sulaco with immense\ndecision.", "During the last few days, as it happened, Charles Gould had been kept\ntoo busy thinking twice before he spoke to have paid much attention to\nthe state of his feelings. But theirs was a successful match, and he had\nno difficulty in finding his answer.", "\"Aren't they married yet?\" Mrs. Gould asked. \"The mother wished it, as\nfar as I can understand, while Linda was yet quite a child. When I had", "about your Linda. Husband to one and brother to the other, did you say?\nWell, why not! I like the little ones, and a man must marry some time.", "\"I shall go grey, I fear, before the ring is on my finger,\" she said,\nslowly, keeping her gaze fastened upon him.\n\nShe waited for what he would say, rolling down her turned-up sleeves.", "\"No,\" she said, slowly. \"I never loved him. I think I never . . . He\nloves me--perhaps.\"", "These two young people remembered the life which had ended wretchedly\njust when their own lives had come together in that splendour of hopeful", "He retired to Sulaco. His wife had an estate in that province, and she\nnursed him back to life out of the house of death and captivity. When", "She did not wait in vain. The man whose soul was dead within him,\ncreeping out of the ravine, weighted with silver, had seen the gleam\nof the lighted window, and could not help retracing his steps from the\nbeach.", "than for her. But let them be. To each his fate, shaped by passion or\nsentiment. The principal thing is that she has backed up my advice to", "intimacy. A husband! A husband for her! And yet it was natural that\nGiselle should have a husband at some time or other. He had never\nrealized that before. In discovering that her beauty could belong", "This combination was gratifying to Mrs. Gould's tastes. \"How thin the\npoor boy is!\" she thought. \"He overworks himself.\" But there was no", "\"I cannot see her. . . . No matter,\" he went on, with the shadow of the\nold magnificent carelessness in his voice. \"One kiss is enough, if", "This came from Giorgio Viola, who went on talking for a while of his\ndead wife; while the two, sitting side by side, never looked at each\nother. Then the old man ceased; and Linda, motionless, began to speak.", "She disengaged herself gently. He got up and looked down at her, aware\nof her face, of her hair, her lips, the dimples on her cheeks--seeing", "But, even as he said this, he had obviously given up his search, and\nwalked straight towards Mrs. Gould, who looked at him with doubtful\nsurprise.\n\n\"Senora,\" he began, in a low voice.", "\"Ah, yes!\" snarled the doctor, suddenly. \"Women count time from the\nmarriage feast. Didn't you live a little before?\"\n\n\"Yes; but what is there to remember? There were no cares.\"", "\"It is I who loved you,\" she whispered, with a face as set and white\nas marble in the moonlight. \"I! Only I! She will forget thee, killed", "Then, surprised at her husband's silence, she raised her eyes, opened\nwide, as pretty as pale flowers. He had done with the spurs, and," ], [ "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "disposition. And Nostromo was of the people. So he only grunted\nincredulously.", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "\"No doubt,\" mumbled Nostromo, loud enough to be overheard. \"There may be\neven more than two fools in this place. Who knows?\"\n\n\"And that is my affair,\" said the doctor, curtly.", "was Nostromo's good pleasure. Of course, he is not a second Nostromo,\nas he fondly imagined he would be; but still, the position was brilliant", "all he cares for. To be first somewhere--somehow--to be first with these\nEnglish. They will be showing him to everybody. 'This is our Nostromo!'\"", "At that time Nostromo had been already long enough in the country\nto raise to the highest pitch Captain Mitchell's opinion of the\nextraordinary value of his discovery. Clearly he was one of those", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "The incomparable Nostromo, the Capataz, the respected and feared Captain\nFidanza, the unquestioned patron of secret societies, a republican like", "\"They are trying for a sight of the Isabels,\" muttered Nostromo, \"in\norder to make for the harbour in a straight line and seize the Custom", "\"Am I to understand, senor,\" Nostromo went on in a deliberate and, as it\nwere, watchful tone, \"that Sotillo thinks the treasure has been saved by\nsome means?\"", "\"Ah! You do not see it,\" began Nostromo, scathingly, gathering scorn as\nhe went on. \"Three men in half an hour would see that no ground had been", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "amenity worth securing even at the cost of some self-contempt. He did\nnot accept Nostromo's proposal that he should get into the boat at", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"No,\" assented Nostromo, as the doctor paused, \"there is no need to talk\nof dead men. But I am not dead yet.\"" ], [ "\"Knocked overboard and drowned,\" cried Nostromo's voice confidently out\nof the black wastes of sky and sea around the islet. \"Keep close in the", "A tremendous shout from one end of the ship to the other stopped his\nguffaw. Nostromo had leaped overboard; and his black head bobbed up far", "Nostromo himself thought that this was perhaps the end of his desperate\nadventure. He, too, had been flung away from the long tiller, which", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "Nostromo had, indeed, found the lighter's boat, which he had left on\nthe Great Isabel with Decoud, floating empty far out in the gulf. He was", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "\"You could not have kept the lighter afloat without me,\" Decoud almost\nshouted. \"You would have gone to the bottom with her.\"\n\n\"Yes,\" uttered Nostromo, slowly; \"alone.\"", "little cockle-shell. It was merely a common small boat gone adrift with\nher oars in her. But Nostromo, to whose mind Decoud had been insistently", "Of that Decoud had not been aware. Of course, it was too dark to see,\nand it was only when Nostromo put his hand upon its painter fastened to", "Nostromo's intention had been to sail right into the harbour; but at\nthis thought by a sudden touch of the tiller he threw the lighter into", "A slight swishing rustle showed that Nostromo was setting the sail. It\nfilled all at once with a sound as of a single loud drum-tap. Decoud", "Hirsch, when ordered forward by Nostromo, had not returned into his\nfirst hiding-place. He had fallen near the mast, and had no strength to", "\"We are out in the gulf now,\" said the calm voice of Nostromo. A moment\nafter he added, \"Senor Mitchell has lowered the light.\"\n\n\"Yes,\" said Decoud; \"nobody can find us now.\"", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "\"They are trying for a sight of the Isabels,\" muttered Nostromo, \"in\norder to make for the harbour in a straight line and seize the Custom", "Meantime, the steamer had kept on her way towards Sulaco, where only the\ntruth of that matter could be ascertained. Decoud and Nostromo heard the", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "A great recrudescence of obscurity embraced the boat. The sea in the\ngulf was as black as the clouds above. Nostromo, after striking a couple" ], [ "ruined after a lot of revolutions. And that's your Costaguana in a\nnutshell.\"", "\"Costaguana for the Costaguaneros,\" interjected the doctor,\nsardonically. \"It is a fine country, and they have raised a fine crop of\nhates, vengeance, murder, and rapine--those sons of the country.\"", "Costaguana, where poor Uncle Harry had been shot by soldiers a great\nmany years before. There was also connected closely with that mine a\nthing called the \"iniquitous Gould Concession,\" apparently written on", "After all, with his English parentage and English upbringing, he\nperceived that he was an adventurer in Costaguana, the descendant of", "Costaguana), a Norfolk coat of grey flannel, and those great flaming\nmoustaches, he suggested an officer of cavalry turned gentleman farmer.", "llanos and try to make a little money in peace and quietness. Senora,\nyou know, all Costaguana knows--what do I say?--this whole South", "of the wife of our Senor Administrador, has been painted in Europe, a\ncountry of saints and miracles, and much greater than our Costaguana.\"", "Mr. Charles Gould, a citizen of Costaguana, who is also all right; and,\nlastly, the Government of the Republic. So far this resembles the first", "life of Costaguana could offer. He used to confess afterwards that the\nevents which followed surpassed his imagination. To begin with, Sulaco\n(because of the seizure of the cables and the disorganization of the", "and some day will get hold of Costaguana along with the rest of the\nworld.\"", "An enormous national flag of Costaguana, diagonal red and yellow, with\ntwo green palm trees in the middle, floated lazily at the mainmast head", "\"Poor Costaguana! Before, it was everything for the Padres, nothing for\nthe people; and now it is everything for those great politicos in Sta.\nMarta, for negroes and thieves.\"", "believe in the reform of Costaguana. And now the mine was back again in\nits old path, with the disadvantage that henceforth it had to deal not", "Joseph Mitchell prided himself on his profound knowledge of men and\nthings in the country--cosas de Costaguana. Amongst these last he\naccounted as most unfavourable to the orderly working of his Company", "\"What would you expect a true Costaguanero to do? Another revolution, of\ncourse. On my word of honour, Mrs. Gould, I believe I am a true _hijo del", "Costaguana. The dusk of purple and red enveloped him, too--close, soft,\nprofound, as no more than fifty yards from that spot it had gathered", "all those foreigners was gratifying. \"You have heard this one. He is an\nenlightened well-wisher. It is pleasant to think that the prosperity of\nCostaguana is of some use to the world.\"", "On one side of this broad curve in the straight seaboard of the Republic\nof Costaguana, the last spur of the coast range forms an insignificant", "My principal authority for the history of Costaguana is, of course, my\nvenerated friend, the late Don Jose Avellanos, Minister to the Courts of", "party. Don Vincente, journeying south from Sta. Marta, had embarked at\nCayta, the principal port of Costaguana, and came to Sulaco by sea." ], [ "and the head of police--belonging to an overturned government. Poor\nSenor Ribiera (such was the dictator's name) had come pelting eighty", "Don Jose Avellanos had displayed in the service of the endangered\nRibiera Government an organizing activity and an eloquence of which", "commandancia. He had managed to deceive by his gift of plausibility\nthe chiefs of the Ribierist movement in the capital, and even the acute", "made the strength of the Ribierist movement. This movement had its\nadversaries even there. Sotillo governed Esmeralda with repressive\nseverity till the adverse course of events upon the distant theatre", "Esmeralda, where he distributed some brandy to his men, and refreshed\nhimself at the expense of the owner, a known Ribierist. The whole party", "himself a marked Ribierist for any sort of vengeance Gamacho, for\ninstance, would choose to take, now the Montero party, had, after all,", "Don Vincente Ribiera made a few steps under the deck-awning, leaning on\nthe arm of Senor Avellanos; a wide circle was formed round him, where", "Excellentissimo Senor don Vincente Ribiera, the Dictator of Costaguana,\nhad described the National Central Railway in his great speech at the\nturning of the first sod.", "some talent for war, _mais il manque de tenue_.\" After the triumph of the\nRibierists he had obtained the reputedly lucrative Occidental", "deliver two of them to the Ribierist authorities in Tonoro. They had\ncome to offer him a free pardon and the rank of colonel from General\nMontero in consideration of joining the rebel army with his mounted", "towards the faithful Ribierist municipality of Esmeralda. Later on, the\ninformation that the commandant was holding assemblies of officers in", "Marta, and that the Ribierists are defeated. It must have happened a few\ndays ago--perhaps a week. The rumour has just reached Cayta, and the", "The whole thing was being carried out behind the back of the War\nMinister, Montero, a mistrusted member of the Ribiera Government, but", "suppose you hate me.\" Then in a loud voice he began to congratulate Don\nJose upon all the engineers being convinced Ribierists. The interest of", "the candidature of Don Vincente Ribiera for the Presidency. Another of\nthese informal State papers drawn up by Don Jose (this time in the\nshape of an address from the Province) induced that scrupulous", "\"Ribiera had yielded to the urgent solicitations of his friends, and had\nleft the headquarters of his discomfited army alone, under the", "\"It is a great, great foolishness, Don Carlos, all this. The price of\nhides in Hamburg is gone up--up. Of course the Ribierist Government will\ndo away with all that--when it gets established firmly. Meantime--\"", "for parliamentarism itself. \"His Excellency Don Vincente Ribiera,\" he\nused to say, \"whom I and that fellow of mine, Nostromo, had the honour,", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "which had brought into a five-year dictatorship Don Vincente Ribiera, a\nman of culture and of unblemished character, invested with a mandate" ], [ "ruined after a lot of revolutions. And that's your Costaguana in a\nnutshell.\"", "army, and start another revolution.\" He pointed out, however, that there\nwas a little boat belonging to every lighter fit to carry two men, if\nnot more. Theirs was towing behind.", "remains still available. I am forced to take up openly the plan of a\nprovincial revolution as the only way of placing the enormous material\ninterests involved in the prosperity and peace of Sulaco in a position", "committing them, with grave good-byes, to the care of God at the\nboundary pillars of their estates. In all these households she\ncould hear stories of political outrage; friends, relatives, ruined,", "revolutionists stood in the vast space, all looking one way from under\ntheir slouched hats for some sign of news from Rincon. The largest of", "armed with knives and revolvers. A haggard fearlessness characterized\nthe expression of all these sun-blacked countenances; they glared down", "\"Their revolutions, their revolutions,\" gasped Senora Teresa. \"Look,\nGian' Battista, it has killed me at last!\"", "This bit of manual work in loading the silver was their last concerted\naction. It ended the three days of danger, during which, according to\nthe newspaper press of Europe, their energy had preserved the town", "He had a burst of muffled laughter. \"And now from robbers we have become\nsoldiers. But look, Caballero, at those who made us soldiers and him a\ngeneral! Look at these people!\"", "chance, or it may not have a chance. With all my experience of this\nrevolutionary continent, I can hardly yet look at their methods\nseriously. Decoud has been reading to us his draft of a proclamation,", "adventurers enlisted in a foreign legion, of men who had sought fortune\nin a revolutionary war, who had planned revolutions, who had believed in\nrevolutions. For all the uprightness of his character, he had something", "After getting over the shock, Don Jose refused to let himself be\nprostrated. Indeed, better news succeeded at first. The revolt in the", "imagined himself writing a letter to San Francisco in some such words:\n\". . . . The men at the head of the movement are dead or have fled; the\ncivil organization of the province is at an end for the present;", "Afterwards his story was not so clear. It lost itself amongst the\ninnumerable tales of conspiracies and plots against the tyrant as a", "conspirators of Costaguana are made. This clever but common device\n(which frequently works like a charm in putting down revolutions) failed\nwith the chief of vulgar Salteadores. It promised well for the Fiscal at", "doorway trembling visibly, venture again within. The soldiers, picking\nup from the floor the rifles they had dropped to grapple with the\nprisoner, filed out of the room. The officers remained leaning on their", "between the revolutions. \"Sir,\" Captain Mitchell would pursue with\nportentous gravity, \"the ill-timed end of that mule attracted attention\nto the unfortunate rider. His features were recognized by several", "Now the whole land is like a treasure-house, and all these people are\nbreaking into it, whilst we are cutting each other's throats. The only", "This unexpected cry had the effect of stilling the noise. All the eyes\nwere directed to the window with an approving expectation; but Decoud\nhad already turned his back upon the room, and was again leaning out\nover the quiet street.", "in the end to send his warning to Sulaco. The lieutenant, staggering\nupstairs with a drawn sabre, was before long kissing him on both\ncheeks in one of those swift changes of mood peculiar to a state of" ], [ "ruined after a lot of revolutions. And that's your Costaguana in a\nnutshell.\"", "\"Costaguana for the Costaguaneros,\" interjected the doctor,\nsardonically. \"It is a fine country, and they have raised a fine crop of\nhates, vengeance, murder, and rapine--those sons of the country.\"", "Costaguana, where poor Uncle Harry had been shot by soldiers a great\nmany years before. There was also connected closely with that mine a\nthing called the \"iniquitous Gould Concession,\" apparently written on", "\"Poor Costaguana! Before, it was everything for the Padres, nothing for\nthe people; and now it is everything for those great politicos in Sta.\nMarta, for negroes and thieves.\"", "llanos and try to make a little money in peace and quietness. Senora,\nyou know, all Costaguana knows--what do I say?--this whole South", "believe in the reform of Costaguana. And now the mine was back again in\nits old path, with the disadvantage that henceforth it had to deal not", "Costaguana to pay for everything--or else you would not be here. Ha! ha!\nDon't mind this little picardia of my friend Montero. In a little while", "and some day will get hold of Costaguana along with the rest of the\nworld.\"", "Concession had been granted to him and his descendants for ever. He\nimplored his son never to return to Costaguana, never to claim any\npart of his inheritance there, because it was tainted by the infamous", "After all, with his English parentage and English upbringing, he\nperceived that he was an adventurer in Costaguana, the descendant of", "My principal authority for the history of Costaguana is, of course, my\nvenerated friend, the late Don Jose Avellanos, Minister to the Courts of", "The doctor, lifting his head, answered by a long, lifeless stare and the\nwords, \"Perhaps because I have lived too long in Costaguana.\"\n\nSotillo had a gleam of white teeth under the black moustache.", "\"What would you expect a true Costaguanero to do? Another revolution, of\ncourse. On my word of honour, Mrs. Gould, I believe I am a true _hijo del", "the Costaguana Government.\"", "It opened the road to tyranny; and, ever since, the rest of Costaguana\nhangs like a millstone round our necks. The Occidental territory is", "all those foreigners was gratifying. \"You have heard this one. He is an\nenlightened well-wisher. It is pleasant to think that the prosperity of\nCostaguana is of some use to the world.\"", "wealthy merchants of Costaguana, had already lost a considerable part of\nhis fortune in forced loans to the successive Governments. He was a man\nof calm judgment, who never dreamed of pressing his claims; and when,", "impossible to tell now. Costaguana was made with difficulty to pay a\nbeggarly money compensation to the families of the victims, and then\nthe matter dropped out of diplomatic despatches. But afterwards another", "Joseph Mitchell prided himself on his profound knowledge of men and\nthings in the country--cosas de Costaguana. Amongst these last he\naccounted as most unfavourable to the orderly working of his Company", "life of Costaguana could offer. He used to confess afterwards that the\nevents which followed surpassed his imagination. To begin with, Sulaco\n(because of the seizure of the cables and the disorganization of the" ], [ "Excellentissimo Senor don Vincente Ribiera, the Dictator of Costaguana,\nhad described the National Central Railway in his great speech at the\nturning of the first sod.", "of Costaguana had been so much liked and trusted by the fierce old\nDictator.", "ruined after a lot of revolutions. And that's your Costaguana in a\nnutshell.\"", "\"Costaguana for the Costaguaneros,\" interjected the doctor,\nsardonically. \"It is a fine country, and they have raised a fine crop of\nhates, vengeance, murder, and rapine--those sons of the country.\"", "\"Poor Costaguana! Before, it was everything for the Padres, nothing for\nthe people; and now it is everything for those great politicos in Sta.\nMarta, for negroes and thieves.\"", "The doctor, lifting his head, answered by a long, lifeless stare and the\nwords, \"Perhaps because I have lived too long in Costaguana.\"\n\nSotillo had a gleam of white teeth under the black moustache.", "all those foreigners was gratifying. \"You have heard this one. He is an\nenlightened well-wisher. It is pleasant to think that the prosperity of\nCostaguana is of some use to the world.\"", "Concession had been granted to him and his descendants for ever. He\nimplored his son never to return to Costaguana, never to claim any\npart of his inheritance there, because it was tainted by the infamous", "After all, with his English parentage and English upbringing, he\nperceived that he was an adventurer in Costaguana, the descendant of", "conspirators of Costaguana are made. This clever but common device\n(which frequently works like a charm in putting down revolutions) failed\nwith the chief of vulgar Salteadores. It promised well for the Fiscal at", "which was covered by another army with the President-Dictator in its\nmidst. Don Jose became quite animated with a great flow of speech,\nbending forward anxiously under the steady eyes of his daughter. Decoud,", "wealthy merchants of Costaguana, had already lost a considerable part of\nhis fortune in forced loans to the successive Governments. He was a man\nof calm judgment, who never dreamed of pressing his claims; and when,", "Costaguana to pay for everything--or else you would not be here. Ha! ha!\nDon't mind this little picardia of my friend Montero. In a little while", "Costaguana, where poor Uncle Harry had been shot by soldiers a great\nmany years before. There was also connected closely with that mine a\nthing called the \"iniquitous Gould Concession,\" apparently written on", "Mr. Charles Gould, a citizen of Costaguana, who is also all right; and,\nlastly, the Government of the Republic. So far this resembles the first", "\"Annex the rest of Costaguana to the order and prosperity of Sulaco,\"\nsnapped the doctor. \"There is no other remedy.\"", "in his letters of leaving Costaguana, of abandoning everything and\nmaking his escape. But he was too valuable a prey. They would have\nthrown him into one of their prisons at the first suspicion.\"", "Avellanos was quite aware of his new and unexpected vocation, which in\nCostaguana was generally the speciality of half-educated negroes and", "life of Costaguana could offer. He used to confess afterwards that the\nevents which followed surpassed his imagination. To begin with, Sulaco\n(because of the seizure of the cables and the disorganization of the", "It opened the road to tyranny; and, ever since, the rest of Costaguana\nhangs like a millstone round our necks. The Occidental territory is" ], [ "Sulaco. Come, senor. Your reputation is in your politics, and mine is\nbound up with the fate of this silver. Do you wonder I wish there", "Sulaco, pastoral and sleepy, with its opulent Campo and the rich silver\nmine, heard the din of arms fitfully in its fortunate isolation. It was", "Most of the Europeans in Sulaco were there, rallied round Charles Gould,\nas if the silver of the mine had been the emblem of a common cause, the", "\"Administration of the San Tome Silver Mine. Sulaco. Republic of\nCostaguana.\" He had written it furiously, snatching page after page", "the San Tome silver mine had an immense influence over all these Spanish\nDons. He had also one of the best houses in Sulaco, and the Gould\nhospitality was beyond all praise.", "which the capital of their countries was engaged. The only lady of that\ncompany was Mrs. Gould, the wife of Don Carlos, the administrator of the\nSan Tome silver mine. The ladies of Sulaco were not advanced enough to", "such moments as he could spare from play and study. In about a year he\nhad evolved from the lecture of the letters a definite conviction\nthat there was a silver mine in the Sulaco province of the Republic of", "At about that time, in the Intendencia of Sulaco, Charles Gould was\nassuring Pedrito Montero, who had sent a request for his presence there,", "Costaguana, where poor Uncle Harry had been shot by soldiers a great\nmany years before. There was also connected closely with that mine a\nthing called the \"iniquitous Gould Concession,\" apparently written on", "had come to pass. Neither Sulaco nor the silver of the mine had fallen\ninto his hands. He had performed no military exploit to secure his\nposition, and had obtained no enormous booty to make off with. Pedrito", "Decoud and of the silver on the island. The letters he carried to the\nGeneral, however, made brief mention of the loss of the lighter, as\nhaving its bearing upon the situation in Sulaco. In the circumstances,", "\"Caballero,\" he said in an interested voice, \"you are he whom they call\nthe King of Sulaco, the master of the mine? Is it not so?\"", "suppose that the mining affairs of Sulaco are taken in hand. There would\nthen be in it: first, the house of Holroyd, which is all right; then,", "The Capataz of the Sulaco Cargadores had lived in splendour and\npublicity up to the very moment, as it were, when he took charge of the\nlighter containing the treasure of silver ingots.", "confidential communications passing between Charles Gould, the King\nof Sulaco, and the head of the silver and steel interests far away in\nCalifornia, the conviction was growing that any attempt made by men of", "large amount of silver ingots lying in the Sulaco Custom House. To gain\npossession of it would be a clear Monterist move; a sort of service that", "the same time the material interests of all sorts, backed up by the\ninfluence of the San Tome mine, were quietly gathering substance in that\npart of the Republic. If, for instance, the Sulaco Collectorship was", "Sulaco from the north. But the Minerva, carrying off the ex-president,\nhad taken the news up north of the disturbances in Sulaco. It was", "helped me to organize the surveying parties. His practical ownership of\nthe San Tome silver mine gives him a special position. He seems to have\nthe ear of every provincial authority apparently, and, as I said, he can", "of Sulaco after Don Carlos Gould. But he is good-natured, and let me\nmake friends with him.\"" ], [ "\"Nostromo!\" Mrs. Gould whispered, bending very low. \"I, too, have hated\nthe idea of that silver from the bottom of my heart.\"", "\"I can. I will,\" Mrs. Gould declared. \"A word will be enough for a man\nlike Nostromo.\"\n\nThe doctor smiled sourly.", "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"As taking out the accursed silver to sea was my affair,\" retorted\nNostromo. \"I see. Bueno! Each of us has his reasons. But you were the", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "He stretched himself, and with slow steps descended into the gully to\nspend the night by the side of the silver. If Nostromo returned--as he", "symbol of the supreme importance of material interests. They had loaded\nit into the lighter with their own hands. Nostromo recognized Don Carlos\nGould, a thin, tall shape standing a little apart and silent, to whom", "Gould. But her word was law. He accepted her denial like an inexplicable\nfatality affirming the victory of Nostromo's genius over his own. Even", "\"The silver, Mrs. Gould, the silver,\" he murmured in English. \"Don't\nforget that the Esmeralda garrison have got a steamer. They may appear\nat any moment at the harbour entrance.\"", "\"Mrs. Gould, you are wanted. Do you know what has happened? You remember\nwhat I told you yesterday about Nostromo. Well, it seems that a lancha,", "\"We are out in the gulf now,\" said the calm voice of Nostromo. A moment\nafter he added, \"Senor Mitchell has lowered the light.\"\n\n\"Yes,\" said Decoud; \"nobody can find us now.\"", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "At about that time, in the Intendencia of Sulaco, Charles Gould was\nassuring Pedrito Montero, who had sent a request for his presence there,", "silver that must be saved from Montero's clutches in order to be used\nfor Montero's defeat. Nostromo galloped furiously back towards the town.", "\"I have brought that sour-faced English doctor in Senora Gould's\ncarriage,\" said Nostromo. \"I doubt if, with all his wisdom, he can", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "\"Am I to understand, senor,\" Nostromo went on in a deliberate and, as it\nwere, watchful tone, \"that Sotillo thinks the treasure has been saved by\nsome means?\"", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "Old Giorgio only moved his head sideways absently. Nostromo pointed\nafter the Goulds' carriage, nearing the grass-grown gate in the old town\nwall that was like a wall of matted jungle.", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"" ], [ "\"I was; but I cannot believe,\" said Nostromo, \"that its loss would have\nimpoverished Don Carlos Gould very much. There is more wealth in the", "\"I can. I will,\" Mrs. Gould declared. \"A word will be enough for a man\nlike Nostromo.\"\n\nThe doctor smiled sourly.", "symbol of the supreme importance of material interests. They had loaded\nit into the lighter with their own hands. Nostromo recognized Don Carlos\nGould, a thin, tall shape standing a little apart and silent, to whom", "Gould. But her word was law. He accepted her denial like an inexplicable\nfatality affirming the victory of Nostromo's genius over his own. Even", "\"Nostromo!\" Mrs. Gould whispered, bending very low. \"I, too, have hated\nthe idea of that silver from the bottom of my heart.\"", "At that time Nostromo had been already long enough in the country\nto raise to the highest pitch Captain Mitchell's opinion of the\nextraordinary value of his discovery. Clearly he was one of those", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"Mrs. Gould, you are wanted. Do you know what has happened? You remember\nwhat I told you yesterday about Nostromo. Well, it seems that a lancha,", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "Mrs. Gould. Nostromo selected that lighter for the work because she\nwas the best sailing and the strongest boat of all the Company's fleet.", "\"I have brought that sour-faced English doctor in Senora Gould's\ncarriage,\" said Nostromo. \"I doubt if, with all his wisdom, he can", "\"Look here, senor,\" Nostromo went on. \"I never even remonstrated about\nthis affair. Directly I heard what was wanted I saw what a desperate", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"Ah! You do not see it,\" began Nostromo, scathingly, gathering scorn as\nhe went on. \"Three men in half an hour would see that no ground had been", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"I feel I have a duty towards these girls,\" said Mrs. Gould, uneasily.\n\"Is Nostromo in Sulaco now?\"\n\n\"He is, since last Sunday.\"", "him most--Charles Gould's immense material loss, the death of Nostromo,\nwhich was a heavy loss to himself, or the idea of that beautiful and", "disposition. And Nostromo was of the people. So he only grunted\nincredulously.", "She was by no means easy in her mind. She loved Nostromo. She turned\nher eyes upon Giselle, sitting at a distance, with something of maternal", "The incomparable Nostromo, the Capataz, the respected and feared Captain\nFidanza, the unquestioned patron of secret societies, a republican like" ], [ "Custom House, whose strong room, it was well known, contained a large\ntreasure in silver ingots, failed completely. Even the little hotel kept\nby old Giorgio, standing alone halfway between the harbour and the town,", "sitting, with Mrs. Gould's silver spectacles on his nose, before the\nopen Bible, he had been prowling actively all about the island with his\nold gun, on watch over his honour.", "him--there's no saying which. There was Gould's silver, on which rests\nthe remnant of our hopes. Decoud's retreat had to be thought of, too.", "descended into the gully; for the fascination of all that silver, with\nits potential power, survived alone outside of himself. He picked up the", "silver mine. Mrs. Gould had out her own carriage, with two white mules,\nto drive them down to the harbour, whence the Ceres was to carry them", "\"The silver, Mrs. Gould, the silver,\" he murmured in English. \"Don't\nforget that the Esmeralda garrison have got a steamer. They may appear\nat any moment at the harbour entrance.\"", "Decoud and of the silver on the island. The letters he carried to the\nGeneral, however, made brief mention of the loss of the lighter, as\nhaving its bearing upon the situation in Sulaco. In the circumstances,", "vaguely uneasy) stranded on the Great Isabel? Everybody had given up.\nEven Don Carlos had given up. The hurried removal of the treasure out", "Mrs. Gould's ride with the first silver escort to Sulaco was the closing\nepisode of what she called \"my camp life\" before she had settled in her", "perfectly black, and so narrow that he fetched up against the opposite\nwall. The door had been instantly slammed. He knew where they had put\nhim. This was the strong room of the Custom House, whence the silver", "\"Nostromo!\" Mrs. Gould whispered, bending very low. \"I, too, have hated\nthe idea of that silver from the bottom of my heart.\"", "islands. There was not a hint of them to be seen, as if they had sunk to\nthe bottom of the gulf. He threw himself down by the side of Decoud at", "\"At midnight,\" said Charles Gould. \"We are bringing down the silver\nto-morrow. Then I shall take three whole days off in town with you.\"", "island. Off into the woods. But it was no good. . . . He strode away,\nflourishing his arms above his head. Then I noticed an old negro, who", "with the treasure on the Great Isabel. The Capataz, turning his back on\nthese things invisible and existing, sat down and took his face between", "He stretched himself, and with slow steps descended into the gully to\nspend the night by the side of the silver. If Nostromo returned--as he", "\"Certainly not that last,\" Charles Gould declared, firmly. \"What could\none do with a man like that, afterwards--tell me, doctor? The silver is", "comes in. Sotillo, blind and deaf to everything, stuck on board his\nsteamer watching the dragging for silver, which he believed to be sunk", "silver, being uttered simply and with many mental reservations. Surprise\nand rage rendered him speechless, and the doctor pursued, practically", "the sword, so now, the times being changed, Charles Gould had flung\nthe silver of the San Tome into the fray. The Inglez of Sulaco, the" ], [ "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"You have returned,\" he said, with shaky dignity. \"Ah! Very well! I----\"\n\nHe broke off. Nostromo, leaning back against the table, his arms folded\non his breast, nodded at him slightly.", "\"Knocked overboard and drowned,\" cried Nostromo's voice confidently out\nof the black wastes of sky and sea around the islet. \"Keep close in the", "Hirsch, when ordered forward by Nostromo, had not returned into his\nfirst hiding-place. He had fallen near the mast, and had no strength to", "Nostromo himself thought that this was perhaps the end of his desperate\nadventure. He, too, had been flung away from the long tiller, which", "A tremendous shout from one end of the ship to the other stopped his\nguffaw. Nostromo had leaped overboard; and his black head bobbed up far", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"Yes. His shadow in the lighted room,\" said Nostromo, in a contemptuous\ntone. Leaning back with folded arms at the foot of the immense building,", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "\"Teresa is dead,\" remarked the doctor, absently, while his mind\nfollowed a new line of thought suggested by what might have been called\nNostromo's return to life. \"She died, the poor woman.\"", "\"No,\" assented Nostromo, as the doctor paused, \"there is no need to talk\nof dead men. But I am not dead yet.\"", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "enough to show him that Nostromo was swimming with perfect ease; and\nthen he thundered terribly, \"No! no! We shall not stop to pick up this", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He" ], [ "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "\"It is good here,\" said the old man, in his austere, far-away manner.\n\nNostromo nodded; then, after a short silence--", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "Nostromo himself thought that this was perhaps the end of his desperate\nadventure. He, too, had been flung away from the long tiller, which", "\"You have returned,\" he said, with shaky dignity. \"Ah! Very well! I----\"\n\nHe broke off. Nostromo, leaning back against the table, his arms folded\non his breast, nodded at him slightly.", "regret. A heavy sense of discomfiture crushed him: the loss of the\nsilver, the death of Nostromo, which was really quite a blow to his", "A sudden dread came upon the fearless and incorruptible Nostromo. He\ndared not utter the name in his mind. The slight pause only imparted a\nmarked weight and solemnity to the changed end of the phrase.", "The heroic Garibaldino accepted Nostromo's abrupt departure with a\nsagacious indulgence. He remembered his own feelings, and exhibited a\nmasculine penetration of the true state of the case.", "\"Besides, who would think of looking either for you or the treasure\nhere?\" Nostromo continued, as if he could not tear himself away from the", "Long after he had vanished, Nostromo, lifting his eyes up to the sky,\nmuttered, \"I am not dead yet.\"", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "discretion. He would betray the treasure. And Nostromo had made up his\nmind that the treasure should not be betrayed.", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "the shame of a moral disgrace, became implacable in the expansion of its\ntenderness. Nostromo's return was providential. He did not think of him", "Nostromo heard him stir and utter dispassionately the words--\n\n\"It may have been a vision.\"\n\n\"No,\" he said, softly. \"It is no vision, old man.\"", "\"No,\" said Nostromo, looking away carelessly. \"It was a lie. I love thee\nas much as ever.\"\n\n\"Is that true?\" she cooed, joyously, her cheeks still wet with tears.", "was Nostromo's good pleasure. Of course, he is not a second Nostromo,\nas he fondly imagined he would be; but still, the position was brilliant", "Nostromo released him abruptly, and the doctor feared that the\nindispensable man would run off again. But he did not. He walked on" ], [ "\"Sotillo, I tell you. Who else? Tortured--of course. But why shot?\" The\ndoctor looked fixedly at Nostromo, who shrugged his shoulders slightly.", "\"But why shot?\" the doctor again asked himself, audibly. This time he\nwas answered by a dry laugh from Nostromo.", "\"Adios, viejo,\" said Nostromo, feeling the handle of his revolver in the\nbelt and loosening his knife in its sheath. He picked up a blue poncho", "\"Knocked overboard and drowned,\" cried Nostromo's voice confidently out\nof the black wastes of sky and sea around the islet. \"Keep close in the", "jetty. That's all that he was. But without him Senor Ribiera would have\nbeen a dead man. This Nostromo, sir, a man absolutely above reproach,", "\"What, only one?\" remarked Nostromo, looking down with a sort of comic\ninquisitiveness at the unconscious old man. \"No matter,\" he added, with\nlofty negligence; \"one is enough till another is wanted.\"", "\"Yes. But why shot?\" he murmured to himself.\n\nNostromo kept very still.\n\n\n\nCHAPTER NINE", "\"My poor Cargadores!\" muttered Nostromo. \"Betrayed! Betrayed!\"", "\"Teresa is dead,\" remarked the doctor, absently, while his mind\nfollowed a new line of thought suggested by what might have been called\nNostromo's return to life. \"She died, the poor woman.\"", "A tremendous shout from one end of the ship to the other stopped his\nguffaw. Nostromo had leaped overboard; and his black head bobbed up far", "\"You man of fear!\" he cried. \"You shall be avenged by me--Nostromo. Out\nof my way, doctor! Stand aside--or, by the suffering soul of a woman", "\"No! no! That would be impossible,\" said the doctor, with conviction;\nand Nostromo emitted a grunt in the dark. \"That would be impossible. He", "\"It was history--history, sir! And that fellow of mine, Nostromo, you\nknow, was right in it. Absolutely making history, sir.\"", "\"No,\" assented Nostromo, as the doctor paused, \"there is no need to talk\nof dead men. But I am not dead yet.\"", "His hand rested heavily for a moment on Nostromo's shoulder; then he\nwent in. The hopeless slave of the San Tome silver felt at these words", "Nostromo himself thought that this was perhaps the end of his desperate\nadventure. He, too, had been flung away from the long tiller, which", "Hirsch, when ordered forward by Nostromo, had not returned into his\nfirst hiding-place. He had fallen near the mast, and had no strength to", "\"No, senor,\" said Nostromo, sullenly. \"It is not in my power to get the\ntreasure back for you to give up to Sotillo, or Pedrito, or Gamacho.\nWhat do I know?\"", "\"Yes. His shadow in the lighted room,\" said Nostromo, in a contemptuous\ntone. Leaning back with folded arms at the foot of the immense building,", "\"Shall I strike you dead with my knife where you stand?\" retorted\nNostromo, contemptuously. \"It would be the same thing as taking you to" ] ]

[ "Under which dictator had Costaguana been experiencing stability?", "What did Charles Gould own near Sulaco's key port?", "What is the Italian expatriate's name?", "What is Nostromo's real name?", "How did the rich view Nostromo?", "From whom are the silver being kept?", "On which Island were Decoud and the silver deposited on?", "What threatened Nostromo's ability to secretly recover the treasure?", "Why did old Giorgio kill Nostromo?", "What is nostromo recognized as by Gould and his partners?", "What does Nostromo attempt to smuggle out of the country?", "Who does Gould support?", "How does Nostromo Die?", "Who eventually gets married in the story?", "What do the nobility consider Nostromo to be?", "How did Nostromo's ship sink?", "What country does Costaguana resemble geographically?", "What is Ribiero's political title?", "What is the state of the revolutionaires at the end of the story?", "What does Costaguana have a long history of?", "Who is the dictator of Costaguana?", "Who owns an important silver-mining concession near Sulaco?", "Where does Gould order Nostromo to take his silver?", "How is Nostromo viewed by Gould and his employers?", "What deserted island does Gould and the silver get deposited on?", "Where does Nostromo end up after he swims back to shore undetected?", "How does Nostromo feel after his exploits during the revolution?", "Who shoots and kills Nostromo in the end of the story?" ]

[ [ "Ribiera", "Ribiera" ], [ "A silver-mining concession", "Charles Gould owned a silver mine." ], [ "Nostromo", "Nostromo" ], [ "Giovanni Battista Fidanza", "Giovanni Battista Fidanza" ], [ "As a useful tool", "A useful tool." ], [ "The revolutionaries", "revolutionaries" ], [ "Great Isabel", "Great Isabel" ], [ "The lighthouse", "A lighthouse is built on Great Isabel." ], [ "He mistook him for a trespasser.", "believed he was a trespasser" ], [ "\"Incorruptible.\"", "Incorruptible." ], [ "Silver", "silver" ], [ "Ribiero", "Gould supports the dictator, Ribiera." ], [ "Shot", "he is shot" ], [ "Nostromo", "noone" ], [ "A tool", "The nobility consider Nostromo as a \"useful tool\"." ], [ "scuttled", "struck by another ship" ], [ "Columbia", "Colombia" ], [ "Dictator", "Dictator" ], [ "Defeated", "They were defeated by Nostromo and his army." ], [ "Tyranny, revolution, and warfare.", "tyranny and warfare" ], [ "Ribiera.", "Ribiera is the dictator of Costaguana." ], [ "Charles Gould.", "Charles Gould" ], [ "Offshore to be sold in international markets.", "offshore" ], [ "Incorruptible.", "He is view as a useful tool." ], [ "Great Isabel.", "The island of Great Isabel" ], [ "Sulaco.", "Sulaco." ], [ "Slighted and used.", "used and unappreciated" ], [ "Giorgio Viola.", "Giorgio." ] ]

[ [ "So they would not let him sleep! A simple idea born in the brain of a\nfiend. Heron had spoken of Chauvelin as the originator of the devilry;", "\"Exactly,\" said Chauvelin dryly. \"That being the case, Sir Percy, what\nsay you to no longer wasting the few chances which are left to you for", "Chauvelin made no immediate reply. He paused awhile, hesitating. Would\nSir Percy Blakeney be ready--if his own safety demanded it--to sacrifice", "Chauvelin had put before her: a man harassed day and night, unceasingly,\nunremittingly, with one question allowed neither respite nor sleep--his", "The heat from the stove had made Armand drowsy; his head fell forward\non his chest. Chauvelin, with his hands held behind his back, paced\nceaselessly up and down the narrow room.", "\"It will have no time to do that, Sir Percy,\" retorted Chauvelin\nblandly; \"an you will furnish me with citizen St. Just's present\naddress, I will myself convey the letter to him at once.\"", "\"Admirably put, Sir Percy,\" said Chauvelin blandly; \"that is exactly my\nmission.\"\n\n\"How will you set to work, Monsieur Chambertin?\"", "\"You cannot,\" retorted Chauvelin decisively. \"In his present state he is\nincapable of it, even if he would, which also is doubtful.\"", "\"Citizen Heron is impatient, Sir Percy,\" resumed Chauvelin after a\nwhile, \"so I must be brief. Lady Blakeney, as well as citizen St. Just,", "\"In Boulogne,\" resumed Chauvelin quietly, satisfied that his words were\nhitting steadily at her heart--\"in Boulogne Sir Percy and I did", "Chauvelin was watching him with those keen, light-coloured eyes of his.\nBlakeney, conscious of this, made no movement, only his lips tightened,\nand the heavy lids fell over the hollow eyes, completely hiding their\nglance.", "\"Leave it standing where it is, then; citizen Chauvelin will need it in\nthe morning.\"\n\n\"Armand,\" whispered Marguerite inside the coach, \"did you see Percy?\"", "He had gradually worked himself up again to a state of feverish\nexcitement. Through the darkness which hung about in this small room he\ntried to peer in Chauvelin's impassive face.", "\"It is,\" rejoined Chauvelin complacently, \"just what we have been saying\nto Sir Percy Blakeney for the past six days, madame.\"\n\n\"Well! then you have had your answer, have you not?\"", "\"Mine, Sir Percy?\" retorted Chauvelin. \"Mine? Why, to tell you the\ntruth, the fate of little Capet interests me but little. Let him rot in", "\"Himself, citizen, at your service,\" replied Chauvelin with his quiet,\nironical manner. \"I am the bearer of a letter for you from Sir Percy\nBlakeney. Have I your permission to enter?\"", "\"And would be rendering your ex-chief but a sorry service,\" interposed\nChauvelin with quiet irony. \"Sir Percy Blakeney is a dying man, citizen", "\"But the hour is somewhat late, citizen,\" rejoined Chauvelin urbanely.\n\"The lady in whom you take so fervent an interest is no doubt asleep in", "Pimpernel had succeeded; Percy had not failed in his self-imposed\nundertaking. Chauvelin, whose piercing eyes were fixed on him at that\nmoment, smiled with contemptuous irony.", "Chauvelin made no reply. Like a feline creature on the prowl, he was\nwatching the prey that had so nearly succumbed to his talons. Blakeney's" ], [ "\"Not they!\" he exclaimed. \"It was my friend Heron whom they had trussed\nand gagged, and whom my amiable friend M. Chambertin will find in there", "It was a vigorous blow from Heron's fist that brought him at last to his\nknees, and even then his hands did not relax their hold; they gripped", "come too near to him. Thus the fraud was succeeding fairly well. Heron\nand his accomplices only cared to save their skins, and the wretched\nlittle substitute being really ill, they firmly hoped that he would", "\"A friend!\" he replied, panting and exhausted. \"Where is citizen Heron?\"\n\n\"Here!\" came the reply in a voice hoarse with passionate excitement.\n\"Come up, damn you. Be quick!\"", "Heron now was like a voracious creature that has two victims lying ready\nfor his gluttonous jaws. He was loath to let either of them go. He hated", "Heron had paused at the door. It was he who had thrown it open--he who,\nfollowed by a couple of his sleuth-hounds, had thought to find here", "The man who previously had guided de Batz to Heron's door slowly\nstruggled to his feet. He had been squatting somewhere in the gloom, and", "Heron gave a long, low whistle. Instinctively he threw a furtive,\nbackward glance at the prisoner, then he raised his shifty eyes to his\ncolleague.", "In the centre of the room both men paused, and Heron turned with a surly\ngrowl to his friend.\n\n\"You vowed he would be dead in an hour,\" he said reproachfully.", "Heron roused himself from the maze of gloomy thoughts that were again\nparalysing his tongue. He turned bleary, wild eyes on Armand.", "He watched Heron while the latter scribbled a few words on a scrap of\npaper, then he quietly rose to go. He took up his cloak and once again", "Suddenly, without any warning he felt a grip upon his shoulder. He gave\na start and almost uttered a cry of alarm which caused Heron to laugh.", "The next moment Heron and Chauvelin were once more face to face with\ntheir prisoner.", "Heron walked across to the opening and lifted the iron bar. With scant\nceremony he pushed his colleague aside and strode into the cell, whilst", "Heron with his final preparations for his journey. You, of course,\ncitizen St. Just, will act in accordance with Sir Percy Blakeney's\nwishes?\"", "The prisoner, with his head once more buried in his arms, had fallen\ninto a kind of torpor, the only kind of sleep that the exhausted system\nwould allow. With a brutal gesture Heron shook him by the shoulder.", "Heron gave a vicious snarl.\n\n\"It is dangerous, I tell you. That receipt, if it falls into some cursed\nmeddler's hands, would send me straight to the guillotine.\"", "\"He is all safe. Citizen Heron came to see him, and then he told me to\nlock the little vermin up in the inner room. Citizen Cochefer had just\narrived by that time, and he has remained in charge.\"", "\"Himself. And Heron is the man next to him.\"\n\n\"Heron?\" said the younger man interrogatively.\n\n\"Yes. He is chief agent to the Committee of General Security now.\"", "In the midst of all the litter de Batz at last became conscious of two\npeople who stood staring at him and at Heron. He saw a man before him," ], [ "Percy speaks in his letter. I myself will go by land to Le Portel, and\nthence, if I have no news of you or of the expedition, I will slowly", "his chief, if he wanted to do so. Of course, the unfortunate young man\ncould not have known until just now that Percy would come back to Paris,", "Percy had longed to be back in England soon, back to Marguerite, to a\nfew days of unalloyed happiness and a few days of peace.", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "Now he blamed himself severely for having quitted Paris. Even Percy\nmust have thought him a coward for obeying quite so readily. Maybe the\ncommand had been but a test of his courage, of the strength of his love\nfor Jeanne.", "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "had left his young wife because of that, and Armand had demanded it as a\nright to join hands in this noble work. Blakeney had not left France for", "message to No. 9 Rue St. Germain l'Auxerrois. That was the house where\nPercy was staying all last week, where he kept disguises and so on", "\"Yes!\" he rejoined quietly, \"safe enough for the moment. But he would\nbe safer still if he were out of France. I had hoped to take him one day", "\"Percy,\" said the young man, \"I ran all the way from the top of the Rue\nSt. Honore. I was only breathless. I am quite all right. May I tell you\nall about it?\"", "Tony, Hastings and I have agreed to return to Paris. There are one or\ntwo hidden places in and around the city known only to Percy and to", "for us all, and where some of our meetings were held. Percy evidently\nexpected that Armand would try and communicate with him at that address,\nfor when the lad arrived in front of the house he was accosted--so", "At last, in the beginning of '94 he persuaded Blakeney to allow him\nto join the next expedition to France. What the principal aim of that", "Percy had not come. He could not come now, and he (Armand) would have\nthe night to face without news of Jeanne. Something, of course, had", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "He dragged his weary footsteps back to his own lodgings on the heights\nof Montmartre. He had not found Percy, he had no news of Jeanne;", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "\"I will at once go and find de Batz,\" Sir Andrew contrived to whisper\nhurriedly. \"As soon as Percy's letter is safely in his hands I will make" ], [ "\"At Calais, madam,\" he replied. \"I saw them there on my way hither.\nThey had delivered the Dauphin safely into the hands of his adherents at", "\"But the Dauphin surely is safe now,\" she urged. \"Ffoulkes and the\nothers are here in order to help you.\"", "\"Yes! the Dauphin,\" he said, nodding his head as if in answer to his\nown thoughts, \"or rather, let me say, the reigning King of France--Louis", "Now it was about the Dauphin. They all waited, breathless and eager,\nthe fire of a noble enthusiasm burning in their hearts. They waited in", "\"It is about the Dauphin,\" he said abruptly without further preamble.", "He himself could have led Heron to the doors of the tower where the\nlittle Dauphin was being kept imprisoned, but unfortunately he did not", "With tender care the two men lifted the sleeping little King of France\ninto the rickety cart. Blakeney laid his cloak over him, and listened\nfor awhile to the slow regular breathing of the child.", "\"But the Dauphin is safe enough now,\" was all that she said, after that\none moment's silence when her heart, too, had offered up to God the", "an order to my followers to bring the Dauphin hither. They left me in\npeace for one quarter of an hour, which gave me time to write three", "the Dauphin to think of. She is in comparative safety; the people in\nthe Rue de Charonne are friendly for the moment; but for how long? Who", "the next ten days the Dauphin will be on the high roads of France, on\nhis way to safety. Every stage of his journey will be known to me. I can", "\"It is about the Dauphin!\"", "\"Some one must let the others know... those who have the Dauphin in\ntheir charge.\"", "\"By giving up the Dauphin to you, you mean?\" she retorted coldly.\n\n\"Precisely.\"", "unfolded to us, but which I firmly believe is framed for the rescue of\nthe Dauphin from the Temple.\"", "of the Chateau d'Ourde. He will help me to save the Dauphin, and if\nby good luck he also helps me to save myself I shall be within seven", "Ten days!\n\n\"I have waited a week, until this hour when I could place this packet in\nyour hands; another ten days should see the Dauphin out of France--after\nthat, we shall see.\"", "CHAPTER XIX. IT IS ABOUT THE DAUPHIN", "Already his active mind was busily at work. One or two things which\nhe had noted in connection with his visit to the Dauphin's prison had", "\"The Dauphin,\" murmured St. Just involuntarily." ], [ "Armand was quite glad to meet him, and when de Batz suggested that a\ngood talk over old times would be vastly agreeable, the younger man", "Now he once more took hold of Armand by the elbow, but quite gently,\nmore like a comrade who is glad to have met another, and is preparing", "\"And then you saw Armand again?\"\n\n\"Yes. They told him that I was free. And he came here to see me. He\noften comes; he will be here anon.\"", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares.", "Armand accepted the other's cordial invitation. He, too, felt that he\nwould indeed be safer from observation in a crowded theatre than in", "went to him. He must have known that Armand was being spied upon, for\nArmand, alas! was already a marked man, and the watch-dogs of", "on Armand, and knew that some explanation would have to pass between the\ntwo men before they parted to-night. Therefore he gave the signal for\nthe breaking up of the meeting.", "Armand was young and he was an idealist. I do not for a moment imagine\nthat just at this moment he was deeply in love. The stronger feeling had", "\"I cannot tell you,\" replied Armand.\n\n\"Bah! there is no necessity to fence with me, my friend. The moment I\nset eyes on you this afternoon I knew that you had not come to Paris\nalone.\"", "\"I have news for Armand,\" she whispered, \"that will comfort him, a\nmessage--a letter from his friend. You will see, dear, that when Armand", "Armand, and because Marguerite loves you, I would wish to turn to you in\nthe hour that I need help. I am in a tight corner, but the hour may", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "The weather, fortunately, was not quite so cold--a sudden and very rapid\nthaw had set in; and when after a hurried toilet Armand, carrying a", "Just now there was none of that in the debonnair, easy-going man of the\nworld who advanced to meet his friend. Armand went quickly up to him,", "Armand said no more. The sense of shame in him deepened with every\nword spoken by his chief. He felt how untrustworthy he had been, how", "Now it was Armand's turn at last. By this time his heart was beating so\nstrongly and so rapidly that he could not have trusted himself to speak.", "But inside the carriage Armand and Marguerite held one another tightly\nby the hand.\n\n\"It is de Batz--with his friends,\" she whispered scarce above her\nbreath.", "Armand, with a light heart and springy step, followed him as if he were\ngoing to a feast where he would meet Jeanne, where he would kneel at", "\"And it was Armand who told me all about you. He loves you so dearly.\"" ], [ "Armand fought like a madman; he wanted to reach that gate. He shouted,\nhe laughed, and he cried, until one of the soldiers in a fit of rage\nstruck him heavily on the head.", "\"Let me get to him, Armand! This is the end; get me to him, in the name\nof God!\"", "Suddenly Armand started--wide awake now. Hurried footsteps on the\nflagstones outside, a hoarse shout, a banging of heavy doors, and the", "\"And Jeanne was safe, Armand,\" he shouted with a last desperate effort;\n\"those devils have lied to you and tricked you into this ... Since\nyesterday she is out of prison... in the house... you know....\"", "\"Armand, Armand, go to him!\" she cried; and all her self-control, all\nher enforced calm, vanished in an outburst of wild, agonising passion.", "The cry was wrung from Armand St. Just's very soul. Despite the tumult\nof passion which was raging in his heart, he was conscious again of the", "\"It does! it does!\" rejoined Armand, whose excitement was at\nfever-pitch. \"My arrest, my condemnation, my death, will be of vast deal", "\"It was so dark,\" murmured Armand feebly; \"but I saw him, just inside\nthe gates, where they had laid him down. I heard him groaning. Oh, my\nGod!\"", "Armand lost his reason temporarily. The very day on which I rescued the\nDauphin from the Temple I had the good fortune to drag the little lady", "\"Ah, monsieur, the poor little boy in the Temple prison!\"\n\n\"He has your sympathy, mademoiselle?\"", "\"It's no use, Tony. Armand is in Paris. I saw him in the corridor of the\nTemple prison in the company of Chauvelin.\"\n\n\"Great God!\" exclaimed Lord Hastings.", "\"I pray to God, Armand, that no man but I has the right to speak them.\"\n\n\"You have no right.\"", "in the Temple, and whilst Armand had been eating out his heart with\nanxiety, the Scarlet Pimpernel, true only to his mission, and impatient", "\"Great God!\" exclaimed Armand, and instinctively, with a sense of\nprotection, he put his arms round his sister. \"Then, if Chauvelin or the\nsquad is attacked--if--\"", "is being detained. I shall have to go soon, Armand, before the guard is\nchanged at the Temple and the Tuileries. This is the safest time, and", "Now it was Armand's turn at last. By this time his heart was beating so\nstrongly and so rapidly that he could not have trusted himself to speak.", "There was nothing for it but to wait. Armand, whose temples were\nthrobbing, who was footsore, hungry, and wretched, could gain nothing by", "No doubt if Chauvelin had exhibited the slightest sign of fear, if he\nhad moved an inch towards the door, Armand, blind with passion, driven", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares.", "He had his wish. He was inside the Temple prison now, not far from\nJeanne, and though his enemy was older and less vigorous than himself," ], [ "Jeanne had been arrested! Jeanne was in the hands of those brutes, whom\nhe, Armand, had regarded yesterday with insurmountable loathing! Jeanne", "went to him. He must have known that Armand was being spied upon, for\nArmand, alas! was already a marked man, and the watch-dogs of", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares.", "Armand said no more. The sense of shame in him deepened with every\nword spoken by his chief. He felt how untrustworthy he had been, how", "\"It does! it does!\" rejoined Armand, whose excitement was at\nfever-pitch. \"My arrest, my condemnation, my death, will be of vast deal", "he is hated by every one, and no one is safe from his spies. He came to\narrest Armand, but I was able to fool him and to save Armand. And after", "on Armand, and knew that some explanation would have to pass between the\ntwo men before they parted to-night. Therefore he gave the signal for\nthe breaking up of the meeting.", "some time would be spent, too, in interrogating the commissaries. This\nwas Armand's opportunity. After all, if he were free himself he might", "Suddenly Armand started--wide awake now. Hurried footsteps on the\nflagstones outside, a hoarse shout, a banging of heavy doors, and the", "Now it was Armand's turn at last. By this time his heart was beating so\nstrongly and so rapidly that he could not have trusted himself to speak.", "\"Nor to arrest me now, in that case!\" retorted Armand.\n\nChauvelin paused a moment before he replied with a deprecating smile:", "\"What day and hour was she arrested?\" said the man, thrusting his\nbeak-like nose closer to Armand's face. Evidently the piece of silver\nhad done its work well; he meant to be helpful to this country lout.", "But now the phantom had vanished never to return. Armand was sitting\nclose beside her, and he told her that the chief had selected him\namongst all the others to stand by him inside the walls of Paris until\nthe last.", "\"Of course,\" replied Armand.\n\n\"You will present yourself at the main entrance of the house of Justice\nat six o'clock this morning.\"\n\n\"I will not fail you.\"", "Whilst Chauvelin talked he had drawn Armand after him into the lodge\nof the concierge. The young man now made a great effort to pull himself\nvigorously together and to steady his nerves.", "\"And then you saw Armand again?\"\n\n\"Yes. They told him that I was free. And he came here to see me. He\noften comes; he will be here anon.\"", "\"I cannot tell you,\" replied Armand.\n\n\"Bah! there is no necessity to fence with me, my friend. The moment I\nset eyes on you this afternoon I knew that you had not come to Paris\nalone.\"", "The two men grasped one another by the hand. Armand's eyes proffered\na last desperate appeal. But Blakeney's eyes were impassive and\nunrelenting, and Armand with a quick sigh finally took his leave.", "and his gang are using him as a decoy to trap me, of course. All that\nhad not happened if Armand had trusted me.\"", "Already a trooper had clapped irons on her wrists, two others held the\ncarriage doors. Now Armand was lifted back into the coach, and she could" ], [ "And this occurred on Tuesday, January 21st, in the year 1794, or, in\naccordance with the new calendar, on the 2nd Pluviose, year II of the\nRepublic.", "Thus it was that more than a year had gone by before Armand St. Just--an\nenthusiastic member of the League of the Scarlet Pimpernel--was able", "It was close on midnight now, and still they sat opposite one another,\nhe the friend and she the wife, talking over that brief half-hour that\nhad meant an eternity to her.", "A white-faced clock on the wall ticked off the seconds one by one. From\nthe street below came the muffled sounds of wheeled traffic on the soft", "Armand watched the little scene in utter amazement. He had been in\nEngland over a year, and yet he could not understand these Englishmen.", "On this bitterly cold evening of the 27th Nivose, in the second year of\nthe Republic--or, as we of the old style still persist in calling it,", "\"It takes time to hack them to pieces, perhaps. In this case even you,\ncitizen Chauvelin, said that it would take time. Well, it has taken just\nseventeen days, and now the end is in sight.\"", "There was silence now in the narrow room, while the white-faced clock\ncontinued to tick off each succeeding second of time. Heron had once", "\"Yes, you will not see one again for some time, my good Tony. After\nyour hard day's work to-morrow you will have to sleep either inside your", "He had only been away a little over fifteen months, and yet he found\nParis a different city from the one he had left immediately after the", "It was then pitch dark. The street lamps had been extinguished long ago,\nand the feeble January sun had not yet tinged with pale colour the heavy\nclouds that hung over the sky.", "here, and soon was told off to unload a cargo of coal which had arrived\nby barge overnight. He had set-to with a will, half hoping to kill", "Outside the world continued its hideous, relentless way; men butchered\none another, fought and hated. Here in this small old-world salon, with", "At what precise moment the awful doubt took birth in his mind the young\nman could not afterwards have said. Perhaps it was when he heard the\nroll of drums proclaiming the closing of the gates, and witnessed the\nchanging of the guard.", "There was no thought of silence here. The very walls seemed alive with\nsounds, groans and tears, loud wails and murmured prayers; they exuded\nfrom the stones and trembled on the frost-laden air.", "It was all over in a second; almost immediately the tension on the\npale face relaxed, and into the eyes there came that look of", "the place. Let me see--to-day is Thursday, or else Friday morning.\nBy Sunday I'll get those Simons out of the place. Methought I saw you", "It was only when he found himself alone in the narrow, squalid room\nwhich he was occupying that he took the scrap of paper from his pocket\nand read it slowly through. It said:", "He waited while the woman slipped back into her room. She heard him\nspeaking to her boy; the same lad who a fortnight ago had taken the", "Silence had fallen on them all. They all sat round the fire buried in\nthought. Through the open window there came from the quay beyond the hum" ], [ "At last the more closely populated quarters of the city were left\nbehind. On ahead the first section of the guard had turned into the Rue", "The streets of the great city were absolutely deserted at this hour. It\nlay, peaceful and still, wrapped in its mantle of gloom. A thin rain", "All around the great city gave signs of awakening; the business of the\nday renewed its course every twenty-four hours, despite the tragedies of", "\"Then there is one thing more,\" he said. \"There are others in this cruel\ncity, dear heart, who have trusted me, and whom I must not fail--Marie", "Marguerite's voice died away in the silence that still lay over this\ndeserted part of the great city and in this squalid house where she and", "It was then pitch dark. The street lamps had been extinguished long ago,\nand the feeble January sun had not yet tinged with pale colour the heavy\nclouds that hung over the sky.", "Emigration and, above all, the enormous death-roll of the past eighteen\nmonths, had emptied the apartment houses of the great city, and those", "The small city lay damp and grey before them; the rough pavement of the\nnarrow street glistened with the wet, reflecting the dull, leaden sky", "There was no thought of silence here. The very walls seemed alive with\nsounds, groans and tears, loud wails and murmured prayers; they exuded\nfrom the stones and trembled on the frost-laden air.", "So far he had been wonderfully lucky. The foolhardiness with which he\nhad exposed his life and that of his friends by wandering about the", "He had only been away a little over fifteen months, and yet he found\nParis a different city from the one he had left immediately after the", "\"Firstly, you must be outside Paris within the hour. Every minute that\nyou spend inside the city now is full of danger--oh, no! not for you,\"", "The ground beneath de Batz' feet was hard and white with the frost.\nOverhead the pale, wintry moon looked down serene and placid on this\ngiant city wallowing in an ocean of misery.", "Down the Rue St. Honore, he had reached the bottom of the interminably\nlong street at last. He had kept just a sufficiency of reason--or was it", "She told Armand all about her early life, her childhood in the backshop\nof Maitre Meziere, the jeweller, who was a relative of her mother's; of", "He struck quickly into the Rue St. Honore, avoiding the great open\nplaces where the grim horrors of this magnificent city in revolt against", "In a small upstairs room in the Rue de Charonne, above the shop of\nLucas the old-clothes dealer, Marguerite sat with Sir Andrew Ffoulkes.", "Tony, Hastings and I have agreed to return to Paris. There are one or\ntwo hidden places in and around the city known only to Percy and to", "From the very first day when he sat beside her in the tiny boudoir\nof the Square du Roule, and the heavy foot fall of Heron and his", "London or of Bath, and, taking their lives in their hands, they placed\nthem, together with their fortunes, and even their good names, at the" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"More than a fortnight has been wasted in useless obstinacy, Sir Percy.\nFortunately it is not too late.\"\n\n\"Capet?\" said Heron hoarsely, \"tell us, where is Capet?\"", "\"And my dear friend, Sir Percy Blakeney? I had hoped to meet him in\nParis. Ah! but no doubt he has been busy very busy; but I live in", "\"In Boulogne,\" resumed Chauvelin quietly, satisfied that his words were\nhitting steadily at her heart--\"in Boulogne Sir Percy and I did", "\"Mine, Sir Percy?\" retorted Chauvelin. \"Mine? Why, to tell you the\ntruth, the fate of little Capet interests me but little. Let him rot in", "\"She is in no danger,\" said Blakeney simply, \"since she saved the life\nof my friend.\"\n\n\"Percy!\"", "\"Citizen Heron is impatient, Sir Percy,\" resumed Chauvelin after a\nwhile, \"so I must be brief. Lady Blakeney, as well as citizen St. Just,", "\"You will be a hostage in our hands, citizen; your life a guarantee that\nyour chief has no thought of playing us false. Now I was thinking of--of\ncertain events--which led to the arrest of Sir Percy Blakeney.\"", "Heron with his final preparations for his journey. You, of course,\ncitizen St. Just, will act in accordance with Sir Percy Blakeney's\nwishes?\"", "\"I will at once go and find de Batz,\" Sir Andrew contrived to whisper\nhurriedly. \"As soon as Percy's letter is safely in his hands I will make", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "\"Percy, they have arrested her!\" he said, panting, as soon as speech\nreturned to his paralysed tongue.\n\n\"All right. Don't talk now. Wait till you are better.\"", "\"Sir Percy Blakeney has been in the prison of the Conciergerie for\nexactly one week, Lady Blakeney,\" he replied, speaking very slowly, and", "\"In the name of God, Sir Percy,\" he said roughly, as he brought\nhis clenched fist crashing down upon the table, \"this situation is\nintolerable. Bring it to an end to-night!\"", "\"Exactly,\" said Chauvelin dryly. \"That being the case, Sir Percy, what\nsay you to no longer wasting the few chances which are left to you for", "Thus, Sir Percy Blakeney, Bart., the friend and companion of the Prince\nof Wales, the most fastidious fop the salons of London and Bath had", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "\"He has not told you?\" \"Oh! it is very simple. Let me tell you, Lady\nBlakeney, exactly how matters stand. Sir Percy Blakeney--before lucky", "\"You are no doubt surprised, Sir Percy,\" said Chauvelin after a while,\n\"to see Lady Blakeney here. She, as well as citizen St. Just, will", "\"Just in ten words, Blakeney,\" he urged entreatingly; \"how did you\nactually get the boy away?\"\n\nSir Percy laughed--despite himself--at the young man's eagerness." ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "for us all, and where some of our meetings were held. Percy evidently\nexpected that Armand would try and communicate with him at that address,\nfor when the lad arrived in front of the house he was accosted--so", "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir", "\"I cannot tell you,\" replied Armand.\n\n\"Bah! there is no necessity to fence with me, my friend. The moment I\nset eyes on you this afternoon I knew that you had not come to Paris\nalone.\"", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "\"Percy!\" exclaimed Armand in an awed voice.\n\n\"Hush, dear!\" murmured Marguerite feebly; \"we are in Heaven you and I--\"", "Armand, I know. I knew even before Chauvelin came to me, and stood there\nhoping to gloat over the soul-agony a man who finds that he has been", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "\"I see with pleasure, Sir Percy,\" he said, \"that we thoroughly\nunderstand one another. Having had a few hours' rest you will, I know,", "\"I knew that,\" said Blakeney quietly. Armand looked up in surprise.\n\n\"How? When did you know it?\" he stammered.", "\"Little Capet, Sir Percy,\" he said, meeting the other's threatening\nglance with an imperturbable smile, \"tell me where to find him, and", "Armand, unconscious of all save of Jeanne and of her immediate need, put\nan eager hand on Percy's arm.", "\"The difficult task, Armand,\" he said gently.\n\n\"Percy, cannot you release me? She saved my life. I have not thanked her\nyet.\"" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "Armand's letter, with its message and its warning, lay open on the table\nbetween them, and she had in her hand the sealed packet which Percy had", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "\"I cannot tell you,\" replied Armand.\n\n\"Bah! there is no necessity to fence with me, my friend. The moment I\nset eyes on you this afternoon I knew that you had not come to Paris\nalone.\"", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir", "Percy had not come. He could not come now, and he (Armand) would have\nthe night to face without news of Jeanne. Something, of course, had", "\"And my dear friend, Sir Percy Blakeney? I had hoped to meet him in\nParis. Ah! but no doubt he has been busy very busy; but I live in", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "\"Percy!\" exclaimed Armand in an awed voice.\n\n\"Hush, dear!\" murmured Marguerite feebly; \"we are in Heaven you and I--\"", "\"We can but hope, Lady Blakeney,\" said Sir Andrew Ffoulkes after a\nwhile, \"that you will be allowed out of Paris; but from what Armand\nsays--\"", "went to him. He must have known that Armand was being spied upon, for\nArmand, alas! was already a marked man, and the watch-dogs of", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "\"It's no use, Tony. Armand is in Paris. I saw him in the corridor of the\nTemple prison in the company of Chauvelin.\"\n\n\"Great God!\" exclaimed Lord Hastings.", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "for us all, and where some of our meetings were held. Percy evidently\nexpected that Armand would try and communicate with him at that address,\nfor when the lad arrived in front of the house he was accosted--so", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares." ], [ "Jeanne had been arrested! Jeanne was in the hands of those brutes, whom\nhe, Armand, had regarded yesterday with insurmountable loathing! Jeanne", "Jeanne was arrested. He did not know where to look for her, but he did\nknow whither he wanted to go now as swiftly as his legs would carry him.", "\"Jeanne Lange!\" she exclaimed with a world of bitterness in the tone of\nher voice, \"the girl whom Armand loved, it seems, with a passion greater", "\"Her name is Jeanne Lange,\" said St. Just half reluctantly. He had not\nmeant to divulge his secret quite so fully as yet.\n\n\"The young actress at the Theatre National?\"", "matter now to barter his own life for that of Jeanne; she had only been\narrested on suspicion of harbouring him, who was a known traitor to the", "Jeanne was a prisoner in the Temple; then his place was in the prison of\nthe Temple, too. It could not be very difficult to run one's head into", "against her, and actors and actresses were always leniently dealt with\nwhen possible. Then surely, surely, he could serve Jeanne best by his\nown arrest and condemnation, than by working to rescue her from prison.", "\"The damnable lie,\" continued Armand more vehemently, \"that hath made me\none with Cain and the Iscariot. When you goaded me into the hellish act,\nJeanne Lange was already free.\"", "\"I took Jeanne Lange to a place of comparative safety,\" he said after a\nslight pause, \"but since then she has been set entirely free.\"\n\n\"Free?\"", "It was Jeanne Lange who spoke, but her voice was no longer that of an\nirresponsible child; it was firm, steady and hard. Though she spoke to", "comparative safety even now. The old woman, Madame Belhomme, had been\nfreely released the day after her arrest, but Jeanne Lange is still in", "hour. Mademoiselle Lange has been arrested, Armand; but why should you\nnot trust me on that account? Have we not succeeded, I and the others,", "Jeanne Lange. Her hands felt numb and clammy, and instinctively she\nwithdrew away from the near vicinity of the girl. She felt as if the", "\"And Jeanne was safe, Armand,\" he shouted with a last desperate effort;\n\"those devils have lied to you and tricked you into this ... Since\nyesterday she is out of prison... in the house... you know....\"", "know her, to save Jeanne or to guard her. That task was Armand's, who\nworshipped her, and who would gladly die beside her if he failed to\nrescue her from threatened death.", "moment. It had been useless probably, and undoubtedly it was better so.\nIf he only could see Jeanne, and assure himself that she would be safe\nin consequence of his own arrest, then, indeed, life could hold no", "But Jeanne did not know. She could not tell. Her nerves now were\nsomewhat unstrung, and the tears that always came so readily to her eyes", "His every step was being watched, and he still thought Jeanne Lange in\nimmediate danger of death. The look of despair in his face proclaimed", "583. Lange, Jeanne, aged twenty, actress. Square du Roule\n No.5. Suspected of harbouring traitors and ci-devants.", "If Jeanne was not in the Conciergerie, then there might be some hope\nthat she was only being temporarily detained, and through Armand's" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "Armand said no more. The sense of shame in him deepened with every\nword spoken by his chief. He felt how untrustworthy he had been, how", "been herself. Never for a moment did the suspicion cross his mind that\nBlakeney was about to play the part of a coward, but he, Armand, felt", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "The two men grasped one another by the hand. Armand's eyes proffered\na last desperate appeal. But Blakeney's eyes were impassive and\nunrelenting, and Armand with a quick sigh finally took his leave.", "Armand, and because Marguerite loves you, I would wish to turn to you in\nthe hour that I need help. I am in a tight corner, but the hour may", "and his gang are using him as a decoy to trap me, of course. All that\nhad not happened if Armand had trusted me.\"", "Jeanne Lange first, and then Armand himself; and the odds would be very\nheavy against the Scarlet Pimpernel! But that Marguerite should not have\nto mourn an only brother, of that Sir Percy made oath.", "\"Mine, Sir Percy?\" retorted Chauvelin. \"Mine? Why, to tell you the\ntruth, the fate of little Capet interests me but little. Let him rot in", "She knew, of course, that the visit was directed against Armand--some\none had betrayed him, that odious de Batz mayhap--and she was fighting", "betrayed by his dearest friend. But that d--d reprobate did not get\nthat satisfaction, for I was prepared. Not only do I know, Armand, but", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir" ], [ "Sir Percy Blakeney--a prisoner since seventeen days in close, solitary\nconfinement, half-starved, deprived of rest, and of that mental and", "\"Sir Percy Blakeney has been in the prison of the Conciergerie for\nexactly one week, Lady Blakeney,\" he replied, speaking very slowly, and", "Percy after a week's misery immured in a dark and miserable prison,\ndeprived of food and rest, did not look such a physical wreck as did\nArmand St. Just, who was free.", "They had been in Paris three days now, and it was six days since\nBlakeney had been arrested. Sir Andrew and Marguerite had found", "not proved to you that my offer is disinterested? Yet I repeat it even\nnow. If you desire to see Sir Percy in prison, command me, and the doors\nshall be open to you.\"", "\"More than a fortnight has been wasted in useless obstinacy, Sir Percy.\nFortunately it is not too late.\"\n\n\"Capet?\" said Heron hoarsely, \"tell us, where is Capet?\"", "\"How?\"\n\n\"Surely you can persuade Sir Percy's friends not to leave their chief\nin durance vile. They themselves could put an end to his troubles\nto-morrow.\"", "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "A second or two later Sir Percy Blakeney stood in the doorway; his hands\nwere behind his back, obviously hand-cuffed, but he held himself very", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "It had been written ten days ago. A plan had then apparently formed in\nPercy's mind which he had set forth during the brief half-hour's respite", "\"It is,\" rejoined Chauvelin complacently, \"just what we have been saying\nto Sir Percy Blakeney for the past six days, madame.\"\n\n\"Well! then you have had your answer, have you not?\"", "pleasant surprise for him. At the slightest suspicion of false play on\nSir Percy's part, at his slightest attempt at escape, your life and that", "understood, Sir Percy,\" he continued, directly addressing the prisoner,\n\"the conditions under which we are all of us about to proceed on this\njourney?\"", "He had spoken of a fortnight! It was ten days since she had seen Percy.\nIt had then seemed as if death had already marked him with its grim", "Once he turned to ask Blakeney the time.\n\n\"It must be close on ten now,\" replied Sir Percy. \"Push your nag along,\nold man. Tony and Hastings will be waiting for us.\"", "\"I see with pleasure, Sir Percy,\" he said, \"that we thoroughly\nunderstand one another. Having had a few hours' rest you will, I know,", "\"You are a fool, man,\" said Heron roughly. \"You have had seventeen days\nof this. Are you not sick of it?\"\n\n\"Heartily, my dear friend,\" replied Blakeney a little more firmly.", "\"He was in an eating-house, cleverly disguised, I own, trying to glean\ninformation, no doubt as to the probable fate of Sir Percy Blakeney.", "\"Just in ten words, Blakeney,\" he urged entreatingly; \"how did you\nactually get the boy away?\"\n\nSir Percy laughed--despite himself--at the young man's eagerness." ], [ "It was de Batz' turn to be silent. He paused for a moment or two, then\nhe asked abruptly:\n\n\"Your Scarlet Pimpernel is in Paris now, is he not?\"", "Scarlet Pimpernel with that of the Gascon Royalist plotter known to\nhistory as the Baron de Batz, that the time seems opportune for setting\nall doubts on that subject at rest.", "\"Yes,\" said de Batz calmly, \"but not by your friend the Scarlet\nPimpernel.\"\n\n\"Why not?\"", "\"I knew him years ago,\" rejoined de Batz coolly; \"he is a kinsman of\ncitizen St. Just. I know that he is one of the confederates of the\nScarlet Pimpernel.\"", "The Baron de Batz was a man who never justified either his own ambitions\nor even his existence; the Scarlet Pimpernel was a personality of whom\nan entire nation might justly be proud.", "\"His chief, his comrade, the friend of whom you speak, the Scarlet\nPimpernel, who risked his life in order to save yours, mademoiselle, is\na prisoner in the hands of those that hate him.\"", "de Batz would think of this discussion if he could overhear it. His\ncontempt, no doubt, for the Scarlet Pimpernel and his followers would be\nincreased tenfold.", "The identity of the Scarlet Pimpernel is in no way whatever connected\nwith that of the Baron de Batz, and even superficial reflection will", "\"I know no other name for him but that of a small, insignificant\nflower--the Scarlet Pimpernel,\" replied de Batz.", "\"We have got little Capet in there,\" he said dryly. \"Your chivalrous\nScarlet Pimpernel has not ventured in these precincts yet, you see.\"", "\"Bah!\"\n\n\"The Scarlet Pimpernel is in Paris even now.\"\n\n\"The devil he is!\"\n\n\"And on what errand, think you?\"", "the man denounced by de Batz as being one of the followers of that\nirrepressible Scarlet Pimpernel. The obviously Parisian intonation of", "\"That the Englishman who was known as the Scarlet Pimpernel had been\ncaptured in a house in the Rue de la Croix Blanche, and had been\nimprisoned in the Conciergerie.\"", "charge of me that the ragged man-of-all-work had been none other than\nthe mysterious Englishman whom Armand reveres, he whom they call the\nScarlet Pimpernel.\"", "in the Temple, and whilst Armand had been eating out his heart with\nanxiety, the Scarlet Pimpernel, true only to his mission, and impatient", "details of Blakeney's incarceration which he could not possibly impart\nto Marguerite. The capture of the mysterious Englishman known as the\nScarlet Pimpernel had created a great deal of popular satisfaction;", "\"Ah, mademoiselle, what can I tell you that you do not already know? The\nScarlet Pimpernel is a man who has devoted his entire existence to the", "\"Who is that?\"\n\n\"The Englishman.\"\n\n\"You mean the man they call the Scarlet Pimpernel?\"", "Now everything puzzled him. De Batz--he was quite sure--had spoken of an\nEnglishman, a follower of the Scarlet Pimpernel; every thinking French", "\"Your connection with the Scarlet Pimpernel,\" suggested Chauvelin\nblandly.\n\n\"Quite so. I should not defend myself--\"" ], [ "\"Jeanne Lange!\" she exclaimed with a world of bitterness in the tone of\nher voice, \"the girl whom Armand loved, it seems, with a passion greater", "As soon as the door had closed on Jeanne Lange, Armand, with an impulse\nthat refused to be checked, threw himself into his sister's arms. The", "know her, to save Jeanne or to guard her. That task was Armand's, who\nworshipped her, and who would gladly die beside her if he failed to\nrescue her from threatened death.", "Armand did as he was bidden. The whole appearance of Mlle. Lange\nseemed in harmony with her voice. She was not very tall, but eminently", "Armand, with a light heart and springy step, followed him as if he were\ngoing to a feast where he would meet Jeanne, where he would kneel at", "But Jeanne seemed unconscious of all this. Her mind was absorbed in\nArmand, the man whom she loved in her simple, whole-hearted way, and who\nhad seemed so different of late.", "Armand was silent. He had no difficulty in looking unconcerned; his\nthoughts were so full of Jeanne that he cared but little at this moment\nfor any Bourbon king or for the destinies of France.", "Jeanne Lange first, and then Armand himself; and the odds would be very\nheavy against the Scarlet Pimpernel! But that Marguerite should not have\nto mourn an only brother, of that Sir Percy made oath.", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "Jeanne had been arrested! Jeanne was in the hands of those brutes, whom\nhe, Armand, had regarded yesterday with insurmountable loathing! Jeanne", "As for Armand--even in the midst of his own troubles, and of his own\nanxiety for Jeanne, he felt a proud exultation in his heart. The Scarlet", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares.", "And Armand had to think of Jeanne in the midst of all these horrors. She\nwas still a petted actress to-day, but who could tell if on the morrow", "Armand was young and he was an idealist. I do not for a moment imagine\nthat just at this moment he was deeply in love. The stronger feeling had", "\"Mademoiselle Lange,\" continued Armand with all the egoistic ardour\nof the lover who believes that the attention of the entire world is\nconcentrated upon his beloved.", "\"Do not blame him overmuch, dear heart. Armand was in love, and love\nexcuses every sin committed in its name. Jeanne Lange was arrested and", "\"The damnable lie,\" continued Armand more vehemently, \"that hath made me\none with Cain and the Iscariot. When you goaded me into the hellish act,\nJeanne Lange was already free.\"", "\"Her name is Jeanne Lange,\" said St. Just half reluctantly. He had not\nmeant to divulge his secret quite so fully as yet.\n\n\"The young actress at the Theatre National?\"", "Even as Armand's glowing face was at last lifted up to hers asking with\nmute lips for that first kiss which she already was prepared to give,", "went to him. He must have known that Armand was being spied upon, for\nArmand, alas! was already a marked man, and the watch-dogs of" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "\"The difficult task, Armand,\" he said gently.\n\n\"Percy, cannot you release me? She saved my life. I have not thanked her\nyet.\"", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "A second or two later Sir Percy Blakeney stood in the doorway; his hands\nwere behind his back, obviously hand-cuffed, but he held himself very", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "standing on the tumbril and being led to the guillotine. Sir Andrew was\nnot there, and Percy had not come. Armand believed that a direct message\nhad come to him from heaven to save his beloved.", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "Percy after a week's misery immured in a dark and miserable prison,\ndeprived of food and rest, did not look such a physical wreck as did\nArmand St. Just, who was free.", "Jeanne Lange first, and then Armand himself; and the odds would be very\nheavy against the Scarlet Pimpernel! But that Marguerite should not have\nto mourn an only brother, of that Sir Percy made oath.", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "Armand, saved from the swift vengeance of the revolutionaries by the\ndevotion of the Scarlet Pimpernel, crossed over to England and enrolled", "\"You will be a hostage in our hands, citizen; your life a guarantee that\nyour chief has no thought of playing us false. Now I was thinking of--of\ncertain events--which led to the arrest of Sir Percy Blakeney.\"", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "The two men grasped one another by the hand. Armand's eyes proffered\na last desperate appeal. But Blakeney's eyes were impassive and\nunrelenting, and Armand with a quick sigh finally took his leave.", "\"Just in ten words, Blakeney,\" he urged entreatingly; \"how did you\nactually get the boy away?\"\n\nSir Percy laughed--despite himself--at the young man's eagerness.", "in the Temple, and whilst Armand had been eating out his heart with\nanxiety, the Scarlet Pimpernel, true only to his mission, and impatient", "Whilst Chauvelin talked he had drawn Armand after him into the lodge\nof the concierge. The young man now made a great effort to pull himself\nvigorously together and to steady his nerves." ], [ "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"St. Just, at your service, mademoiselle,\" said Armand, bowing very low\nin the most approved style obtaining at the English Court.", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "Her smile and outstretched hand completed the sentence.\n\n\"St. Just!\" exclaimed Jeanne.\n\n\"Yes. Armand's sister!\"", "Armand St. Just to perish? It was not for Chauvelin--or any man of his\nstamp--to judge of what Blakeney would do under such circumstances, and", "His cheeks were glowing, his eyes sparkled with enthusiasm. He looked\nvery young and very eager. Armand St. Just, the brother of Lady", "\"My friend Armand St. Just,\" interposed de Batz, \"is practically a\nnew-comer in Paris. He lives in England habitually.\"", "Percy after a week's misery immured in a dark and miserable prison,\ndeprived of food and rest, did not look such a physical wreck as did\nArmand St. Just, who was free.", "Heron with his final preparations for his journey. You, of course,\ncitizen St. Just, will act in accordance with Sir Percy Blakeney's\nwishes?\"", "against her brother; and by binding St. Just close to him at the\nsupreme hour of danger he hoped to prove to the woman whom he loved so\npassionately that Armand was worthy of trust.", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "\"It will have no time to do that, Sir Percy,\" retorted Chauvelin\nblandly; \"an you will furnish me with citizen St. Just's present\naddress, I will myself convey the letter to him at once.\"", "\"My brother-in-law, Armand St. Just; he is still in Paris, I believe. He\ncan let the others know.\"", "\"I knew him years ago,\" rejoined de Batz coolly; \"he is a kinsman of\ncitizen St. Just. I know that he is one of the confederates of the\nScarlet Pimpernel.\"", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "understand, Armand St. Just could fully appreciate. All that was noble\nand loyal in him rose triumphant from beneath the devastating ashes of\nhis own shame." ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "mercy if Sir Percy Blakeney will on his side accede to a request from\nus.\"", "\"I see with pleasure, Sir Percy,\" he said, \"that we thoroughly\nunderstand one another. Having had a few hours' rest you will, I know,", "\"The difficult task, Armand,\" he said gently.\n\n\"Percy, cannot you release me? She saved my life. I have not thanked her\nyet.\"", "\"I will at once go and find de Batz,\" Sir Andrew contrived to whisper\nhurriedly. \"As soon as Percy's letter is safely in his hands I will make", "Armand, unconscious of all save of Jeanne and of her immediate need, put\nan eager hand on Percy's arm.", "\"I will do whatever you think right, Sir Andrew,\" she said simply;\n\"my will is bound up with Percy's dying wish. God knows I would rather", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir", "\"Ah! that is certainly better, is it not, my dear M. Chambertin?\" said\nSir Percy, beaming on his adversary with a pleasant smile.", "Jeanne Lange first, and then Armand himself; and the odds would be very\nheavy against the Scarlet Pimpernel! But that Marguerite should not have\nto mourn an only brother, of that Sir Percy made oath.", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "Armand accepted the other's cordial invitation. He, too, felt that he\nwould indeed be safer from observation in a crowded theatre than in", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "Armand's letter, with its message and its warning, lay open on the table\nbetween them, and she had in her hand the sealed packet which Percy had", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "The others were silent. What was the use of arguing? One of themselves\nwas in danger. Armand St. Just, the brother of Marguerite Blakeney! Was\nit likely that Percy would leave him in the lurch.", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir", "Percy had not come. He could not come now, and he (Armand) would have\nthe night to face without news of Jeanne. Something, of course, had", "Armand said no more. The sense of shame in him deepened with every\nword spoken by his chief. He felt how untrustworthy he had been, how", "\"I will slip away now,\" she said, for strangely enough since Percy's\nmessage had been in Armand's hands she was once again conscious of", "for us all, and where some of our meetings were held. Percy evidently\nexpected that Armand would try and communicate with him at that address,\nfor when the lad arrived in front of the house he was accosted--so", "\"Percy!\" exclaimed Armand in an awed voice.\n\n\"Hush, dear!\" murmured Marguerite feebly; \"we are in Heaven you and I--\"", "\"God bless you, Percy!\" said Armand involuntarily. \"Good-bye!\"", "\"In the name of God, Sir Percy,\" he said roughly, as he brought\nhis clenched fist crashing down upon the table, \"this situation is\nintolerable. Bring it to an end to-night!\"", "\"The difficult task, Armand,\" he said gently.\n\n\"Percy, cannot you release me? She saved my life. I have not thanked her\nyet.\"", "\"More than a fortnight has been wasted in useless obstinacy, Sir Percy.\nFortunately it is not too late.\"\n\n\"Capet?\" said Heron hoarsely, \"tell us, where is Capet?\"" ], [ "Armand was quite glad to meet him, and when de Batz suggested that a\ngood talk over old times would be vastly agreeable, the younger man", "Now he once more took hold of Armand by the elbow, but quite gently,\nmore like a comrade who is glad to have met another, and is preparing", "\"And then you saw Armand again?\"\n\n\"Yes. They told him that I was free. And he came here to see me. He\noften comes; he will be here anon.\"", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "But Armand had found refuge there eighteen months ago, on his way to\nCalais, when Percy had risked his life in order to save him--Armand--from", "\"I cannot tell you,\" replied Armand.\n\n\"Bah! there is no necessity to fence with me, my friend. The moment I\nset eyes on you this afternoon I knew that you had not come to Paris\nalone.\"", "Armand, and because Marguerite loves you, I would wish to turn to you in\nthe hour that I need help. I am in a tight corner, but the hour may", "Armand was young and he was an idealist. I do not for a moment imagine\nthat just at this moment he was deeply in love. The stronger feeling had", "\"You are right there, friend de Batz,\" assented Armand fervently,\n\"the most precious life, as you say, and one that must be saved at all\ncosts.\"", "She came face to face with Armand, and gave a sudden little gasp of\nterror. It was not good these days to come on any loiterer unawares.", "\"I have news for Armand,\" she whispered, \"that will comfort him, a\nmessage--a letter from his friend. You will see, dear, that when Armand", "went to him. He must have known that Armand was being spied upon, for\nArmand, alas! was already a marked man, and the watch-dogs of", "on Armand, and knew that some explanation would have to pass between the\ntwo men before they parted to-night. Therefore he gave the signal for\nthe breaking up of the meeting.", "\"And it was Armand who told me all about you. He loves you so dearly.\"", "But inside the carriage Armand and Marguerite held one another tightly\nby the hand.\n\n\"It is de Batz--with his friends,\" she whispered scarce above her\nbreath.", "\"Armand!\" she cried.\n\nAnd the loving arms that had guided his baby footsteps long ago, the\ntender hands that had wiped his boyish tears, were stretched out with\nunalterable love toward him.", "Now it was Armand's turn at last. By this time his heart was beating so\nstrongly and so rapidly that he could not have trusted himself to speak.", "Armand accepted the other's cordial invitation. He, too, felt that he\nwould indeed be safer from observation in a crowded theatre than in", "\"Ah, friend Armand,\" he said, \"you were not cut out for diplomacy, nor\nyet for intrigue. So then,\" he added more seriously, \"that gallant hero,", "Armand, with a light heart and springy step, followed him as if he were\ngoing to a feast where he would meet Jeanne, where he would kneel at" ], [ "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "Armand was young and he was an idealist. I do not for a moment imagine\nthat just at this moment he was deeply in love. The stronger feeling had", "Armand the idealist had found his ideal in a woman. That was the great\nmiracle which the woman herself had performed for him. He found in her", "But now the phantom had vanished never to return. Armand was sitting\nclose beside her, and he told her that the chief had selected him\namongst all the others to stand by him inside the walls of Paris until\nthe last.", "Armand rose from his knees. Her eyes were calling to him, her lips were\nready to yield.\n\n\"Tu m'aimes?\" he whispered.\n\nAnd like a tired child she sank upon his breast.", "But Jeanne seemed unconscious of all this. Her mind was absorbed in\nArmand, the man whom she loved in her simple, whole-hearted way, and who\nhad seemed so different of late.", "\"Armand and I were very young children when we lost our parents,\" said\nMarguerite softly, \"and we were all in all to each other then. And until\nI married he was the man I loved best in all the world.\"", "\"How romantic!\" she said, and she looked straight at Armand. \"Tell me,\nmonsieur, is your ideal a woman or a man?\"\n\nHis look answered her, even before he boldly spoke the two words:", "Armand, and because Marguerite loves you, I would wish to turn to you in\nthe hour that I need help. I am in a tight corner, but the hour may", "Armand, with a light heart and springy step, followed him as if he were\ngoing to a feast where he would meet Jeanne, where he would kneel at", "\"Armand!\" she cried.\n\nAnd the loving arms that had guided his baby footsteps long ago, the\ntender hands that had wiped his boyish tears, were stretched out with\nunalterable love toward him.", "\"In the meanwhile, that cruel man must not risk your dear life,\" she\nsaid. \"Remember, Armand, your life belongs to me. Oh, I could hate him\nfor the love you bear him!\"", "know her, to save Jeanne or to guard her. That task was Armand's, who\nworshipped her, and who would gladly die beside her if he failed to\nrescue her from threatened death.", "effort to appear eager like the others, and yet from the first a chill\nhad struck at his heart. He could not leave Paris before he had seen\nJeanne.", "Armand St. Just, though he loved her with an intensity of passion that\nhad been magnified and strengthened by his own overwhelming shame,\nhad never really brought his beloved one single moment of unalloyed", "But Armand was already near her, down on both his knees this time, his\narms clasping the delicate form that swayed like the slender stems of\nnarcissi in the breeze.", "\"And it was Armand who told me all about you. He loves you so dearly.\"", "But he could not think of himself or of anything in the future. He had\nforgotten Heron, Paris, the world; he could only think of her.", "\"And then you saw Armand again?\"\n\n\"Yes. They told him that I was free. And he came here to see me. He\noften comes; he will be here anon.\"", "\"There, little woman, that's better so--is it not? Now let me get hold\nof poor old Armand!\"\n\nIt was Heaven, of course, else how could earth hold such heavenly joy?" ], [ "Jeanne had been arrested! Jeanne was in the hands of those brutes, whom\nhe, Armand, had regarded yesterday with insurmountable loathing! Jeanne", "Jeanne was arrested. He did not know where to look for her, but he did\nknow whither he wanted to go now as swiftly as his legs would carry him.", "matter now to barter his own life for that of Jeanne; she had only been\narrested on suspicion of harbouring him, who was a known traitor to the", "against her, and actors and actresses were always leniently dealt with\nwhen possible. Then surely, surely, he could serve Jeanne best by his\nown arrest and condemnation, than by working to rescue her from prison.", "Jeanne was a prisoner in the Temple; then his place was in the prison of\nthe Temple, too. It could not be very difficult to run one's head into", "\"Jeanne Lange!\" she exclaimed with a world of bitterness in the tone of\nher voice, \"the girl whom Armand loved, it seems, with a passion greater", "\"The damnable lie,\" continued Armand more vehemently, \"that hath made me\none with Cain and the Iscariot. When you goaded me into the hellish act,\nJeanne Lange was already free.\"", "\"Her name is Jeanne Lange,\" said St. Just half reluctantly. He had not\nmeant to divulge his secret quite so fully as yet.\n\n\"The young actress at the Theatre National?\"", "know her, to save Jeanne or to guard her. That task was Armand's, who\nworshipped her, and who would gladly die beside her if he failed to\nrescue her from threatened death.", "\"And Jeanne was safe, Armand,\" he shouted with a last desperate effort;\n\"those devils have lied to you and tricked you into this ... Since\nyesterday she is out of prison... in the house... you know....\"", "\"I took Jeanne Lange to a place of comparative safety,\" he said after a\nslight pause, \"but since then she has been set entirely free.\"\n\n\"Free?\"", "comparative safety even now. The old woman, Madame Belhomme, had been\nfreely released the day after her arrest, but Jeanne Lange is still in", "hour. Mademoiselle Lange has been arrested, Armand; but why should you\nnot trust me on that account? Have we not succeeded, I and the others,", "If Jeanne was not in the Conciergerie, then there might be some hope\nthat she was only being temporarily detained, and through Armand's", "But Jeanne did not know. She could not tell. Her nerves now were\nsomewhat unstrung, and the tears that always came so readily to her eyes", "It was Jeanne Lange who spoke, but her voice was no longer that of an\nirresponsible child; it was firm, steady and hard. Though she spoke to", "moment. It had been useless probably, and undoubtedly it was better so.\nIf he only could see Jeanne, and assure himself that she would be safe\nin consequence of his own arrest, then, indeed, life could hold no", "To save Jeanne you sold me to Heron and his crowd. We are men, Armand,\nand the word forgiveness has only been spoken once these past two", "his loyalty, his obedience. Jeanne had first claim on him. It were\nthe act of a coward to remain in safety whilst she was in such deadly\ndanger.", "Jeanne! She was very young, and would weep bitter tears. She would be\nunhappy, because she truly loved him, and because this would be the" ], [ "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "Now Armand understood everything; a great wave of bitterness swept over\nhis soul. Percy had forgotten Jeanne! He was busy thinking of the child", "\"Percy!\" exclaimed Armand, whose pale face had suddenly flushed scarlet,\n\"you did that?--last night you--\"", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "Percy had not come. He could not come now, and he (Armand) would have\nthe night to face without news of Jeanne. Something, of course, had", "know her, to save Jeanne or to guard her. That task was Armand's, who\nworshipped her, and who would gladly die beside her if he failed to\nrescue her from threatened death.", "\"Yes, de Batz,\" she replied. \"Percy sent him a message, through me,\nto meet him--here. I am not mad, Armand,\" she added more calmly. \"Sir", "\"The difficult task, Armand,\" he said gently.\n\n\"Percy, cannot you release me? She saved my life. I have not thanked her\nyet.\"", "Jeanne Lange first, and then Armand himself; and the odds would be very\nheavy against the Scarlet Pimpernel! But that Marguerite should not have\nto mourn an only brother, of that Sir Percy made oath.", "\"I will at once go and find de Batz,\" Sir Andrew contrived to whisper\nhurriedly. \"As soon as Percy's letter is safely in his hands I will make", "But the bitterness did not last long; on the contrary, a kind of wild\nexultation took its place. If Percy had forgotten, then Armand could", "\"Percy,\" whispered Armand, \"Marguerite does not know?\"\n\n\"Of course she does not, you young fool,\" retorted Percy lightly. \"If\nyou try and tell her I think I would smash your head.\"", "\"Little Capet, Sir Percy,\" he said, meeting the other's threatening\nglance with an imperturbable smile, \"tell me where to find him, and", "Armand turned to go. There was nothing more to be said. He knew Percy\nwell enough by now to realise the finality of his pronouncements. His", "\"Exactly,\" said Chauvelin dryly. \"That being the case, Sir Percy, what\nsay you to no longer wasting the few chances which are left to you for", "\"In the meanwhile, that cruel man must not risk your dear life,\" she\nsaid. \"Remember, Armand, your life belongs to me. Oh, I could hate him\nfor the love you bear him!\"", "\"Mine, Sir Percy?\" retorted Chauvelin. \"Mine? Why, to tell you the\ntruth, the fate of little Capet interests me but little. Let him rot in", "\"Armand, I understand, has fallen in love with a beautiful woman in\nParis, Lady Blakeney,\" he said, seeing that a strange, puzzled look had", "\"I see with pleasure, Sir Percy,\" he said, \"that we thoroughly\nunderstand one another. Having had a few hours' rest you will, I know,", "\"It will have no time to do that, Sir Percy,\" retorted Chauvelin\nblandly; \"an you will furnish me with citizen St. Just's present\naddress, I will myself convey the letter to him at once.\"" ], [ "\"Sir Percy,\" he resumed quietly, \"no doubt it affords you a certain\namount of pleasure to aim your sarcastic shafts at me. I will not", "With that thought in his mind, Sir Percy was not likely to give up the\nattempt to ascertain for himself whether Armand had tried to communicate", "\"Admirably put, Sir Percy,\" said Chauvelin blandly; \"that is exactly my\nmission.\"\n\n\"How will you set to work, Monsieur Chambertin?\"", "Thus, Sir Percy Blakeney, Bart., the friend and companion of the Prince\nof Wales, the most fastidious fop the salons of London and Bath had", "\"Mine, Sir Percy?\" retorted Chauvelin. \"Mine? Why, to tell you the\ntruth, the fate of little Capet interests me but little. Let him rot in", "His next objective, then, was Armand's former lodging, and from\nsix o'clock until close upon eight Sir Percy haunted the slopes of", "\"Well, I am d--d!\"\n\n\"The odds are against you, Sir Percy,\" said Chauvelin to him in\nEnglish, whilst Heron at the further end of the room was growling like a\ncontented beast.", "\"Exactly,\" said Chauvelin dryly. \"That being the case, Sir Percy, what\nsay you to no longer wasting the few chances which are left to you for", "\"In the name of God, Sir Percy,\" he said roughly, as he brought\nhis clenched fist crashing down upon the table, \"this situation is\nintolerable. Bring it to an end to-night!\"", "\"Himself, citizen, at your service,\" replied Chauvelin with his quiet,\nironical manner. \"I am the bearer of a letter for you from Sir Percy\nBlakeney. Have I your permission to enter?\"", "\"In Boulogne,\" resumed Chauvelin quietly, satisfied that his words were\nhitting steadily at her heart--\"in Boulogne Sir Percy and I did", "\"More than a fortnight has been wasted in useless obstinacy, Sir Percy.\nFortunately it is not too late.\"\n\n\"Capet?\" said Heron hoarsely, \"tell us, where is Capet?\"", "\"Little Capet, Sir Percy,\" he said, meeting the other's threatening\nglance with an imperturbable smile, \"tell me where to find him, and", "Sir Percy leaned back in his chair. He yawned loudly and ostentatiously.", "least which he had mastered thoroughly: that was the study of human\nnature. Though occasionally an exceptionally complex mental organisation\nbaffled him--as in the case of Sir Percy Blakeney--he prided himself,", "\"You will be a hostage in our hands, citizen; your life a guarantee that\nyour chief has no thought of playing us false. Now I was thinking of--of\ncertain events--which led to the arrest of Sir Percy Blakeney.\"", "\"Citizen Heron is impatient, Sir Percy,\" resumed Chauvelin after a\nwhile, \"so I must be brief. Lady Blakeney, as well as citizen St. Just,", "\"Ah! that is certainly better, is it not, my dear M. Chambertin?\" said\nSir Percy, beaming on his adversary with a pleasant smile.", "\"And would be rendering your ex-chief but a sorry service,\" interposed\nChauvelin with quiet irony. \"Sir Percy Blakeney is a dying man, citizen", "\"I see with pleasure, Sir Percy,\" he said, \"that we thoroughly\nunderstand one another. Having had a few hours' rest you will, I know," ], [ "\"And Jeanne was safe, Armand,\" he shouted with a last desperate effort;\n\"those devils have lied to you and tricked you into this ... Since\nyesterday she is out of prison... in the house... you know....\"", "Suddenly Armand started--wide awake now. Hurried footsteps on the\nflagstones outside, a hoarse shout, a banging of heavy doors, and the", "Armand fought like a madman; he wanted to reach that gate. He shouted,\nhe laughed, and he cried, until one of the soldiers in a fit of rage\nstruck him heavily on the head.", "\"Let me get to him, Armand! This is the end; get me to him, in the name\nof God!\"", "\"Well!\" he said with a fierce oath, \"what are we waiting for? The\nprisoner knows how he stands. Now we can go.\"", "\"Armand, Armand, go to him!\" she cried; and all her self-control, all\nher enforced calm, vanished in an outburst of wild, agonising passion.", "Armand, trying manfully to play his part, joined one of the groups that\nstood gaping round a street orator. He shouted with the best of them,", "\"It does! it does!\" rejoined Armand, whose excitement was at\nfever-pitch. \"My arrest, my condemnation, my death, will be of vast deal", "The prisoner, with his head once more buried in his arms, had fallen\ninto a kind of torpor, the only kind of sleep that the exhausted system\nwould allow. With a brutal gesture Heron shook him by the shoulder.", "The cry was wrung from Armand St. Just's very soul. Despite the tumult\nof passion which was raging in his heart, he was conscious again of the", "\"Armand!\" she cried.\n\nAnd the loving arms that had guided his baby footsteps long ago, the\ntender hands that had wiped his boyish tears, were stretched out with\nunalterable love toward him.", "He sighed a deep sigh of satisfaction, and even at that moment there\ncame from the guard-room beyond the sound of a harsh voice, saying\nperemptorily:", "\"Remember!\" he shouted, and his voice for that brief moment rang out\nclear and sharp above the din.", "The rest of his words were drowned in a yell of such violent fury that\nthe horses, already over-nervous and fidgety, reared in mad terror,", "\"A friend!\" he replied, panting and exhausted. \"Where is citizen Heron?\"\n\n\"Here!\" came the reply in a voice hoarse with passionate excitement.\n\"Come up, damn you. Be quick!\"", "\"Armand!\" she cried.\n\nA twinge of remorse had gripped her. For fully ten minutes now she had\nrelegated all thoughts of her brother to a distant cell of her memory.", "\"Stop that woman screaming,\" came Heron's voice clearly through the\nnight. \"Put her and the other prisoner in irons--quick!\"", "Suddenly a distant rattle caught his subconscious ear: the rattle of\nwheels on rough cobble-stones. Immediately the crowd began to cheer and\nto shout; some sang the \"Ca ira!\" and others screamed:", "\"Hark!\" broke in Armand, suddenly gripping her arm more tightly.\n\n\"Halt!\" rang the sergeant's voice through the night.", "\"Les aristos! a la lanterne! a mort! a mort! les aristos!\"" ], [ "\"But the Dauphin surely is safe now,\" she urged. \"Ffoulkes and the\nothers are here in order to help you.\"", "of the Chateau d'Ourde. He will help me to save the Dauphin, and if\nby good luck he also helps me to save myself I shall be within seven", "unfolded to us, but which I firmly believe is framed for the rescue of\nthe Dauphin from the Temple.\"", "\"At Calais, madam,\" he replied. \"I saw them there on my way hither.\nThey had delivered the Dauphin safely into the hands of his adherents at", "he has some plan in his head for his own escape and the continued safety\nof the Dauphin.... This plan they hope to frustrate through holding you", "\"Yes! the Dauphin,\" he said, nodding his head as if in answer to his\nown thoughts, \"or rather, let me say, the reigning King of France--Louis", "the Dauphin to think of. She is in comparative safety; the people in\nthe Rue de Charonne are friendly for the moment; but for how long? Who", "\"Some one must let the others know... those who have the Dauphin in\ntheir charge.\"", "an order to my followers to bring the Dauphin hither. They left me in\npeace for one quarter of an hour, which gave me time to write three", "Austria for the rescue of the little Dauphin.", "He himself could have led Heron to the doors of the tower where the\nlittle Dauphin was being kept imprisoned, but unfortunately he did not", "and trust me a while longer. Remember, I must save the Dauphin at all\ncosts; mine honour is bound with his safety. What happens to me after", "before he carried through the rescue of the little Dauphin. Armand could\neven see the window at which the dreamer had stood, weaving noble dreams", "\"By giving up the Dauphin to you, you mean?\" she retorted coldly.\n\n\"Precisely.\"", "Now it was about the Dauphin. They all waited, breathless and eager,\nthe fire of a noble enthusiasm burning in their hearts. They waited in", "the rescue of the poor little Dauphin from the Temple was not actuated\nby patriotism, but solely by greed. Obviously there was a rich reward\nwaiting for him in Vienna the day that he brought Louis XVII safely into", "\"Quite so. Therefore I pray you write to one of your friends that you\nhave decided to deliver the Dauphin into our hands in exchange for your\nown safety.\"", "\"It is about the Dauphin!\"", "Ten days!\n\n\"I have waited a week, until this hour when I could place this packet in\nyour hands; another ten days should see the Dauphin out of France--after\nthat, we shall see.\"", "\"But the Dauphin is safe enough now,\" was all that she said, after that\none moment's silence when her heart, too, had offered up to God the" ] ]

[ "Why does Chauvelin want Percy deprived of sleep?", "Who ties up Heron and puts on his clothes?", "Why was Percy going to France? ", "Where was the Dauphin transported to?", "Who does Armand renew his friendship with?", "What does Armand scream at the gates of the Temple prison?", "Who arrests Armand?", "What year does this story take place in?", "In what city does the majority of the story take place?", "Who is Sir Percy traveling to France to rescue?", "How does Sir Percy know Armand?", "When Sir Percy and Armand arrive in Paris, what warning does Armand ignore?", "Why is Jeanne L'ange arrested?", "Why does Armand betray Sir Percy?", "How many days does Sir Percy remain in prison for before pretending to crack?", "Who tells Baron De Batz about the Scarlet Pimpernel?", "Where does Armand first meet Jeanne L'ange?", "Who does Sir Percy tie up in order to escape and rescue Armand?", "How are Sir Percy and Armand St. Just related?", "What does Sir Percy agree to do with Armand against his better judgement?", "What warning from Sir Percy does Armand ignore?", "What friendship does Armand renew?", "Who does Arnand fall in love with while in Paris?", "Why does Jeanne L'Ange get arrested?", "What does Sir Percy tell Armand he will do after Jeanne L'Ange is arrested?", "Who is Sir Percy's arch enemy?", "What does Arnand shout at the prison gets?", "Where is the Dauphin supposed to be taken after he is rescued?" ]

[ [ "So that he will tell him where the uncrowned King of France is", "He wants to find the location of Capet, and hopes the lack of sleep will weaken Percy." ], [ "Percy", "Percy." ], [ "To rescue the Dauphin", "To rescue the Dauphin" ], [ "Holland", "Holland." ], [ "Baron de Batz", "Baron de Batz." ], [ "Long live the King", "\"Long Live the King!\"" ], [ "Chauvelin", "Chauvelin." ], [ "1794", "1794" ], [ "Paris", "Paris" ], [ "The Dauphin.", "The young Dauphin." ], [ "Armand is Sir Percy's brother in law.", "he is his wife's brother" ], [ "To connect with old friends.", "Do not renew any friendships" ], [ "For covering for Armand.", "For covering for Armand" ], [ "He is afraid Jeanne L'ange will be killed.", "He though Jeanne would die" ], [ "17 days.", "17" ], [ "Armand.", "Armand" ], [ "The opera theatre.", "At the opera." ], [ "Heron.", "Heron." ], [ "Armand is Sir Percy's brother in law", "Brother in law." ], [ "Take him to France and rescue the Dauphin.", "bring him along to France to help rescue the Dauphin" ], [ "Don't renew any friendships while in Paris.", "Don't renew any friendships." ], [ "Baron de Batz", "Baron de Batz" ], [ "Citizeness Jeanne L'Ange", "Jeanne L'Ange" ], [ "She covered for Armand when he was at her house", "For covering for Armand" ], [ "Sir Percy says he will rescue Jeanne L'Ange", "He will rescue her." ], [ "Chauvelin", "Chauvelin." ], [ "Long live the King!", "\"Long Live the King.\"" ], [ "Holland", "Holland." ] ]

[ [ "CLERK\n\t\tWelcome to the Hotel Earle. May I \n\t\thelp you, sir?\n\n\t\t\t\tBARTON\n\t\tI'm checking in. Barton Fink.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "A one-quarter shot on Barton from behind as he picks up the \n\tcotton wad and sticks it back in his right ear.\n\n\tHe resumes typing, furiously.", "Some time later; Barton still types. He is face to us; beyond \n\thim we can see the bed with its rust-colored stain.\n\n\tThe phone rings. Barton ignores it. It continues to ring.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Later. Barton, still in his underwear, sits leaning against \n\tthe wall, staring glassily at his feet.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "To Lou:\n\n\t\t\t\tLIPNIK\n\t\t...Where did we put him?\n\n\t\t\t\tBARTON\n\t\tI'm at the Earle.", "BARTON\n\t\tNo... no...\n\n\tBarton is nodding as he shuts the door in Charlie's face. \n\n\tHe walks back into the room.", "TRACK IN ON BARTON\n\n\tHe flinches.\n\n\tThe gunshot echoes away.\n\n\tBarton strains at the handcuffs.", "We hold on Barton as we hear Mayhew's faucet being turned \n\toff and his foot-steps receding. For some reason, Barton's \n\teyes are widening.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "THE HOTEL ROOM\n\n\tNight. Barton paces frantically back and forth.\n\n\tHe looks at his watch.\n\n\tHIS POV", "BARTON\n\t\tWhat –\n\n\t\t\t\tCLERK\n\t\tDon't you wanna go to your room?!\n\n\tBarton stares at him." ], [ "BARTON\n\t\tBill!...\n\n\tMayhew cocks his head with a politely patient smile. Finally \n\tBarton brings out:", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "BARTON\n\t\tAre you all right?\n\n\tWe hear distant bellowing:\n\n\t\t\t\tMAYHEW\n\t\tSilent upon a hill in Darien!", "BARTON\n\n\tHe rises.\n\n\tAUDREY\n\n\tComing back to Barton.\n\n\tMAYHEW", "MAYHEW\n\t\tI beg your pardon?\n\n\t\t\t\tBARTON\n\t\tW.P. Mayhew? The writer?", "We hold on Barton as we hear Mayhew's faucet being turned \n\toff and his foot-steps receding. For some reason, Barton's \n\teyes are widening.", "BARTON\n\t\t...W.P. Mayhew. William Goddamn \n\t\tPhony Mayhew. All his guff about \n\t\tescape. Hah! I'LL say he escaped!", "BARTON\n\t\tWhat. What don't I understand?\n\n\tAudrey gazes at him.\n\n\tMAYHEW", "GEISLER\n\t\tUnderstand shit! I though you were \n\t\tgonna consult another writer on this!\n\n\t\t\t\tBARTON\n\t\tWell, I've talked to Bill Mayhew-", "AUDREY\n\t\tMaybe you better too, Barton. Before \n\t\tyou get buried under his manure.\n\n\tMayhew chuckles.", "As-thoomp!-the heavy volume is deposited across the table, \n\tin front of Barton, by Mayhew.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "BARTON\n\t\t...You're the finest novelist of our \n\t\ttime.\n\n\tMayhew leans against a stall.", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Through the door Mayhew is still wailing piteously.\n\n\t\t\t\tBARTON\n\t\tIs, uh... Is he okay?", "MAYHEW\n\t\tJust Bill, please.", "Barton looks down at his hands, then pulls a rough brown \n\tpaper towel from a dispenser.\n\n\tMayhew sighs:", "Barton's pacing comes up short.\n\n\t\t\t\tBARTON\n\t\tDid what for Bill?\n\n\tGuardedly:", "GEISLER\n\t\tBill Mayhew! Some help! The guy's a \n\t\tsouse!\n\n\t\t\t\tBARTON\n\t\tHe's a great writer –" ], [ "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "BARTON\n\n\tAfter a beat he rolls the sheet back into place.\n\n\tEXTREME CLOSE SHOT", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "Barton opens the paper. A headline reads: Writer Found \n\tHeadless in Chavez Ravine. The story has two pictures – a", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "BARTON\n\n\tHe gives a nervous smile – more like a tic – and looks back \n\tdown at his hands. We hear the man gargling water and spitting \n\tinto the sink.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "Her stomach is nothing but blood. The top sheet, drawn to \n\ther waist is drenched red and clings to her body.\n\n\tBARTON\n\n\tHe screams.", "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton hesitates.\n\n\t\t\t\tCHARLIE\n\t\t...You can do it, champ!\n\n\tBarton complies.", "Silence, then the thumping repeats, resolving itself to a \n\tknock at the door.\n\n\tBarton rises slowly and crosses to the door.\n\n\tTHE DOOR", "Suddenly Barton slaps his cheek. His eyes open, but he remains \n\tstill. The hum fades up again. Barton reaches over and turns", "With this the stagehand behind Barton furiously pulls the \n\trope hand-over-hand and we hear thunderous applause and shouts \n\tof \"Bravo!\"" ], [ "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Barton swings his feet off the bed.\n\n\tTHE DOORWAY\n\n\tBarton opens the door to Audrey.", "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "BARTON\n\t\tI want to know!\n\n\t\t\t\tAUDREY\n\t\tBarton, honestly, only the last couple-", "BARTON\n\t\tYes I am. I'm working on a wres – \n\t\tplease call me Barton.\n\n\tAudrey reaches out and touches Barton's hand.", "BARTON\n\t\tAudrey, thank you for coming. Thank \n\t\tyou. I'm sorry to be such a... such \n\t\ta... Thank you.", "BARTON\n\t\tOkay, but that doesn't excuse his –\n\n\t\t\t\tAUDREY\n\t\tBarton. Empathy requires... \n\t\tunderstanding.", "Audrey bursts into tears. Barton puts his arms around her \n\tand she leans into him.\n\n\t\t\t\tBARTON\n\t\tAudrey, you can't put up with this.", "CLOSE ON BARTON\n\n\tAs he sits in. He stares emptily down at the desk, in shock, \n\ttotally shut down. Behind him, we can see Audrey on the bed.", "AUDREY\n\t\tI am sorry, it's so embarassing.\n\n\t\t\t\tBARTON\n\t\tHow about you? Will you be alright?", "BARTON\n\t\tNo, but the whole goddamn – Audrey? \n\t\tHave you ever had to read any of \n\t\tBill's wrestling scenarios?\n\n\tAudrey laughs.", "BARTON\n\t\t...Uh-huh... Where's Audrey?\n\n\t\t\t\tCHARLIE\n\t\tShe's dead, Barton! If that was her \n\t\tname.", "CHARLIE\n\t\t...Did you... Barton, between you \n\t\tand me, did you have sexual \n\t\tintercourse?\n\n\tBarton stares at Charlie. He swallows.", "BARTON\n\n\tHe rises.\n\n\tAUDREY\n\n\tComing back to Barton.\n\n\tMAYHEW", "AUDREY\n\t\tIt'll be fine... Don't judge him, \n\t\tBarton. Don't condescend to him...\n\n\tShe strokes Barton's hair.", "AUDREY\n\t\t...I know this must look... funny.\n\n\t\t\t\tBARTON\n\t\tNo, no –\n\n\tHurriedly:", "BARTON\n\t\tWhat. What don't I understand?\n\n\tAudrey gazes at him.\n\n\tMAYHEW", "We frame up on the door to the bathroom and track in toward \n\tthe sink. We can hear the creak of bedsprings and Audrey and \n\tBarton's breath, becoming labored.", "Gradually, she collects herself, wiping her tears.\n\n\t\t\t\tAUDREY\n\t\t...Oh Barton, I feel so... sorry for \n\t\thim!" ], [ "BARTON\n\t\tCharlie! I've got no one else here! \n\t\tYou're the only person I know in Los \n\t\tAngeles...\n\n\tHe starts weeping", "BARTON\n\t\tWell what do I tell him?\n\n\tGeisler rubs a temple, studies Barton for a beat, then picks \n\tup a telephone.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "BARTON\n\t\tThanks, Garland. Thanks for all the \n\t\tencouragement.\n\n\tHe slams down the phone.\n\n\tOVER HIS SHOULDER", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "BARTON\n\t\tI don't know, Garland; my place is \n\t\there right now. I feel I'm on the \n\t\tbrink of success-", "Barton opens the paper. A headline reads: Writer Found \n\tHeadless in Chavez Ravine. The story has two pictures – a", "Lou has entered with a drink, which he sets next to Barton. \n\tLou sits.\n\n\tBarton looks around, takes the drink, sips at it greedily, \n\tbut must finally take the plunge.", "GARLAND\n\t\t...What is it Barton? Are you okay?\n\n\t\t\t\tBARTON\n\t\tI'm fine, garland, but I have to \n\t\ttalk with you.", "BARTON\n\t\tBut Charlie – why me? Why –\n\n\t\t\t\tCHARLIE\n\t\tBecause you DON'T LISTEN!", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Barton slams down the phone.\n\n\tLIPNIK'S OFFICE\n\n\tBarton enters, still clinging on to Charlie's parcel.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "BARTON\n\t\tNo... no...\n\n\tBarton is nodding as he shuts the door in Charlie's face. \n\n\tHe walks back into the room.", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "BARTON\n\t\tReally?...\n\n\tHe considers this for a moment, but his anger returns.", "Lou looks at Barton, expectantly. Lipnik continues to stare \n\tat Lou.\n\n\tThere is a long silence, terribly heavy.\n\n\tFinally, Lipnik explodes – at Lou.", "Angeles. Barton, Capitol Pictures \n\t\twants to put you under contract. \n\t\tThey've offered you a thousand dollars", "He picks the phone back up and listens for a beat.\n\n\t\t\t\tBARTON\n\t\t... No, don't send them up here. \n\t\tI'll be right down." ], [ "unhitches the cuffs and slips one around Barton's right wrist \n\tand the other around a loop in the wrought iron footboard of \n\tthe bed.", "With a shriek of protest, the metal gives. The bar to which \n\tBarton is handcuffed had come loose at the top and Barton \n\tslides the cuff off it, free.", "Barton shuts the door behind Charlie, locks it, and turns \n\taround.\n\n\tHIS POV\n\n\tThe room. The bed. The blood-stained mattress.", "Barton strains at his handcuffs.\n\n\tHIS POV\n\n\tThrough the open doorway we see Charlie pass, pushing two \n\tshells into his shotgun.", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "HIS POV\n\n\tHis hand is dripping with blood. Too much blood.\n\n\tBACK TO BARTON\n\n\tEyes wide, he looks down at the bed.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Some time later; Barton still types. He is face to us; beyond \n\thim we can see the bed with its rust-colored stain.\n\n\tThe phone rings. Barton ignores it. It continues to ring.", "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "Suddenly Barton slaps his cheek. His eyes open, but he remains \n\tstill. The hum fades up again. Barton reaches over and turns", "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "TRACK IN ON BARTON\n\n\tHe flinches.\n\n\tThe gunshot echoes away.\n\n\tBarton strains at the handcuffs.", "Her stomach is nothing but blood. The top sheet, drawn to \n\ther waist is drenched red and clings to her body.\n\n\tBARTON\n\n\tHe screams.", "CHARLIE\n\t\tYou're in pictures, Barton. Even if \n\t\tyou got cleared eventually, this \n\t\twould ruin you.\n\n\tHe turns and starts toward the bed." ], [ "As he runs down the flaming hallway, pursued by flames, smoke, \n\tand Karl Mundt – who, also on the run, levels his shotgun.\n\n\tBOOM!", "DEUTSCH\n\t\tHis name is Mundt. Karl Mundt.\n\n\t\t\t\tMASTRIONOTTI\n\t\tAlso known as Madman Mundt.", "BARTON\n\t\tI hear it's Mundt. Madman Mundt.\n\n\tCharlie reaches a flask from his pocket.", "DEUTSCH\n\t\tSo. You talked to Mundt, what about?\n\n\t\t\t\tBARTON\n\t\tNothing, really. Said he was in the \n\t\tinsurance business.", "DEUTSCH\n\t\t... Show yourself, Mundt!\n\n\tMore quiet.\n\n\tTHE HALLWAY\n\n\tMore smoke.", "MASTRIONOTTI\n\t\tNo kidding, bright boy – we smelt \n\t\tMundt all over this. Was he the idea \n\t\tman?", "DEUTSCH\n\t\t...Mundt!\n\n\tTHEIR POV", "He stands motionless, facing us. There is something monumental \n\tin his posture, shoulders thrown back.\n\n\tMASTRIONOTTI\n\n\tTensed. Behind him, Deutsch gulps.", "MAN\n\t\tMy name is Jack Lipnik. I run this \n\t\tdump. You know that – you read the \n\t\tpapers.\n\n\tLipnik is lumbering back to his desk.", "MASTRIONOTTI\n\t\tThere's a boy, Mundt. Put the policy \n\t\tcase down and your mitts in the air.\n\n\tCHARLIE", "Mastrionotti's face is peppered by buckshot and he is blown \n\tback down the hallway into Deutsch.\n\n\tBellowing fills the hallway over the roar of the fire:", "DEUTSCH\n\t\tFemale caucasian, thirty years old. \n\t\tNice tits. No head. You ever see \n\t\tMundt with anyone meets that \n\t\tdescription?", "He digs in his pocket.\n\n\t\t\t\tMASTRIONOTTI\n\t\t...Mundt has disappeared. I don't \n\t\tthink he'll be back. But...", "DEUTSCH\n\t\tAll right, forget the heads. Where's \n\t\tMundt, Fink?\n\n\t\t\t\tMASTRIONOTTI\n\t\tHe teach you to do it?", "After a moment:\n\n\t\t\t\tSECRETARY\n\t\tIs he in for Mr. Geisler?\n\n\tShe puts the phone in Geisler's hand.", "Lou looks at Barton, expectantly. Lipnik continues to stare \n\tat Lou.\n\n\tThere is a long silence, terribly heavy.\n\n\tFinally, Lipnik explodes – at Lou.", "Charlie is charging down the hallway, holding his shotgun \n\tloosely in front of his chest, in double-time position. The \n\tfire races along with him.\n\n\tHe is bellowing:", "CHARLIE\n\t\tStop with the police! Wake up, friend! \n\t\tThis does not look good! They hang \n\t\tpeople for this!", "He straightens up from the briefcase, a sawed-off shotgun in \n\this hands.\n\n\tBOOM! The shotgun spits fire.", "BARTON\n\t\tI tried to show you something \n\t\tbeautiful. Something about all of \n\t\tUS –\n\n\tThis sets Lipnik off:" ], [ "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton enters and picks it up. He holds it for a beat, looking \n\tat it, then brings it over to the secretary and sits.\n\n\tHe shakes it.", "Charlie hands him his parcel.\n\n\t\t\t\tCHARLIE\n\t\t...Keep this for me, till I get back.\n\n\tBarton, snuffling, accepts the package.", "BEAUTY\n\t\tWhat's in the box?\n\n\tBarton shrugs and shakes his head.\n\n\t\t\t\tBARTON\n\t\tI don't know.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "No sound; whatever is inside is well packed.\n\n\tBarton holds it up to his ear and listens for a long beat, \n\tas if it were a seashell and he is listening for the surf.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "Barton strains at his handcuffs.\n\n\tHIS POV\n\n\tThrough the open doorway we see Charlie pass, pushing two \n\tshells into his shotgun.", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him.", "As Barton opens it. Standing in the hall is a large man – a \n\tvery large man – in short sleeves, suspenders, and loosened", "Later. Barton, still in his underwear, sits leaning against \n\tthe wall, staring glassily at his feet.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "BARTON\n\n\tAfter a beat he rolls the sheet back into place.\n\n\tEXTREME CLOSE SHOT", "Some time later; Barton still types. He is face to us; beyond \n\thim we can see the bed with its rust-colored stain.\n\n\tThe phone rings. Barton ignores it. It continues to ring.", "Barton throws his valise onto the bed where it sinks, \n\tjittering. He shrugs off his jacket.\n\n\tPips of sweat stand out on Barton's brow. The room is hot.", "Barton hesitates for a beat, then rises to go get the door.\n\n\tON THE DOOR" ], [ "BARTON FINK\n\n Screenplay\n\n By\n\n Ethan Coen & Joel Coen", "Barton Fink is ushered into a large, light office by an \n\tobsequious middle- aged man in a sagging suit.\n\n\tThere are mosquito bites on Barton's face.", "AUDREY\n\t\t...Who is this?\n\n\t\t\t\tBARTON\n\t\tBarton. I'm sorry, it's Barton Fink.", "\"THE BURLYMAN \n\tMotion Picture Scenario \n\tBy \n\tBarton Fink\"", "new voice in the American theater \n\t\thas arrived, and the owner of that \n\t\tvoice is named... Barton Fink.\"", "BARTON\n\t\tThat's okay, Charlie. I'm a \n\t\tplaywright. My shows've only played", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "BARTON\n\t\tHello... Chet? This is Barton Fink \n\t\tin room 605. Yes, there's uh, there's", "Barton turns furiously against the crowd.\n\n\t\t\t\tBARTON\n\t\tI'm a writer, you monsters! I CREATE! \n\t\tHe points at his head.", "BARTON\n\t\tThe play was marvelous. She wept, \n\t\tcopiously. Millions of dollars and \n\t\tno sense.\n\n\tGarland smiles, then draws Barton close.", "Barton Fink enters frame from beneath the camera and stops \n\tin the middle foreground to look across the lobby.", "Lou has entered with a drink, which he sets next to Barton. \n\tLou sits.\n\n\tBarton looks around, takes the drink, sips at it greedily, \n\tbut must finally take the plunge.", "We hear a door open and close, then approaching footsteps. A \n\ttall, dark actor in a used tweed suit and carrying a beat-up \n\tvalise passes in front of Barton: From offscreen stage:", "He beams expectantly at Barton. Barton licks his parched \n\tlips.\n\n\t\t\t\tBARTON\n\t\tYeah, okay... well... we fade in...", "Barton Fink seems dazed. He has been joined by two other \n\tmen, both dressed in tuxedos, both beaming toward the stage.\n\n\tBARTON'S POV", "Silence, then the thumping repeats, resolving itself to a \n\tknock at the door.\n\n\tBarton rises slowly and crosses to the door.\n\n\tTHE DOOR", "Some time later; Barton still types. He is face to us; beyond \n\thim we can see the bed with its rust-colored stain.\n\n\tThe phone rings. Barton ignores it. It continues to ring.", "MAN\n\t\tIs that him?! Barton Fink?! Lemme \n\t\tput my arms around this guy!\n\n\tHe bear-hugs Barton.", "BARTON\n\t\tHello, Chet, it's Barton Fink in \n\t\t605. Can you try a number for me in", "As Barton crosses the room we follow to reveal a sink and \n\twash basin, a house telephone on a rickety night stand, and \n\ta window with yellowing sheers looking on an air shaft." ], [ "Barton rises and walks over to his writing table.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton paces.", "BARTON\n\n\tHis eyes move this way and that. After a silent beat, he \n\tshuts them again.", "For the first time Barton smiles.", "TRACK IN ON BARTON\n\n\tHe flinches.\n\n\tThe gunshot echoes away.\n\n\tBarton strains at the handcuffs.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "BARTON\n\n\tHe gives a nervous smile – more like a tic – and looks back \n\tdown at his hands. We hear the man gargling water and spitting \n\tinto the sink.", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Barton hesitates for a beat, then rises to go get the door.\n\n\tON THE DOOR", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "For some reason, Barton is angry.", "Barton, disheveled, emerges and stumbles wearily down the \n\thall. He stops in front of his door, takes his key out, and \n\tenters the room.", "Barton stands at the door, listening to a very faint squeak. \n\tEventually it becomes inaudible.\n\n\tHe cracks the door again, looks out, and exits.", "He jots an address on a piece of paper and hands it to Barton." ], [ "Barton throws his valise onto the bed where it sinks, \n\tjittering. He shrugs off his jacket.\n\n\tPips of sweat stand out on Barton's brow. The room is hot.", "THE HOTEL ROOM\n\n\tNight. Barton paces frantically back and forth.\n\n\tHe looks at his watch.\n\n\tHIS POV", "As Barton crosses the room we follow to reveal a sink and \n\twash basin, a house telephone on a rickety night stand, and \n\ta window with yellowing sheers looking on an air shaft.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Muffled, we can hear the door of the adjacent room opening \n\tand closing.\n\n\tBarton looks at the wall.\n\n\tHIS POV", "We are framed on his back, his coat and hat. The lobby is \n\tempty. There is a suspended beat as Barton takes it in. \n\n\tBarton moves toward the front desk.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "BARTON'S HOTEL ROOM\n\n\tFrom a high angle, booming down on Barton.", "Barton, disheveled, emerges and stumbles wearily down the \n\thall. He stops in front of his door, takes his key out, and \n\tenters the room.", "As Barton emerges. Flames lick the walls, causing the \n\twallpaper to run with the tack glue sap. Smoke fills the \n\thallway. Barton looks down the hall.", "Barton enters frame and steps up onto the bed.\n\n\tHe smooths up the first swath and pushes in a thumbtack near \n\tthe top.", "BARTON'S ROOM\n\n\tWe are tracking toward the paper-wrapped parcel that sits on \n\tthe nightstand next to Barton's bed.", "BARTON'S HOTEL ROOM", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "HIS ROOM\n\n\tAs Barton enters.", "The room is small and cheaply furnished. There is a lumpy \n\tbed with a worn yellow coverlet, an old secretary table, and \n\ta wooden luggage stand.", "BARTON\n\t\tHe looks around to the opposite – \n\t\tbed – wall.\n\n\tHIS POV" ], [ "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "Barton, disheveled, emerges and stumbles wearily down the \n\thall. He stops in front of his door, takes his key out, and \n\tenters the room.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "Barton hesitates for a beat, then rises to go get the door.\n\n\tON THE DOOR", "Lou has entered with a drink, which he sets next to Barton. \n\tLou sits.\n\n\tBarton looks around, takes the drink, sips at it greedily, \n\tbut must finally take the plunge.", "Later. Barton, still in his underwear, sits leaning against \n\tthe wall, staring glassily at his feet.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "BARTON\n\n\tHis eyes move this way and that. After a silent beat, he \n\tshuts them again.", "THE HOTEL ROOM\n\n\tNight. Barton paces frantically back and forth.\n\n\tHe looks at his watch.\n\n\tHIS POV", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "As Barton crosses the room we follow to reveal a sink and \n\twash basin, a house telephone on a rickety night stand, and \n\ta window with yellowing sheers looking on an air shaft.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Silence, then the thumping repeats, resolving itself to a \n\tknock at the door.\n\n\tBarton rises slowly and crosses to the door.\n\n\tTHE DOOR", "Barton stands at the door, listening to a very faint squeak. \n\tEventually it becomes inaudible.\n\n\tHe cracks the door again, looks out, and exits.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "As Barton emerges. Flames lick the walls, causing the \n\twallpaper to run with the tack glue sap. Smoke fills the \n\thallway. Barton looks down the hall." ], [ "Lou looks at Barton, expectantly. Lipnik continues to stare \n\tat Lou.\n\n\tThere is a long silence, terribly heavy.\n\n\tFinally, Lipnik explodes – at Lou.", "Barton stares, horrified, at Lipnik, on the ground at his \n\tfeet.", "BARTON\n\t\tI tried to show you something \n\t\tbeautiful. Something about all of \n\t\tUS –\n\n\tThis sets Lipnik off:", "Barton slams down the phone.\n\n\tLIPNIK'S OFFICE\n\n\tBarton enters, still clinging on to Charlie's parcel.", "Barton is staring, aghast.\n\n\t\t\t\tBARTON\n\t\tMr. Lipnik, that's not really necessar-", "BARTON\n\t\tMr. Lipnik.\n\n\t\t\t\tLIPNIK\n\t\tColonel Lipnik, if you don't mind.", "Lipnik, still staring at Lou, gives no sign of hearing Barton. \n\tHe rises and points.", "Barton, aghast, can only return the same stunned look.\n\n\tLipnik snarls at Lou:", "LIPNIK\n\t\tKISS THIS MAN'S FEET!!\n\n\tLou, aghast, looks at Barton.", "Barton takes a seat facing Lipnik's desk.", "For some reason, Barton is angry.", "BARTON\n\t\t...Both maybe?\n\n\tThere is a disappointed silence. Lipnik looks at Lou. Lou \n\tclears his throat.", "Lou gets stiffly to his feet and stumbles away.\n\n\t\t\t\tBARTON\n\t\tMr. Lipnik, I –", "Barton looks back out at the pool, his eyes closed to slits \n\tagainst the sun. He looks back at Lipnik.", "Lou Breeze stands in one corner censoriously watching Barton. \n\tLipnik is at the far end of the room, gazing out the window.\n\n\t\t\t\tLIPNIK\n\t\tFink.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "BARTON\n\t\tYes sir, they –\n\n\t\t\t\tLIPNIK\n\t\tAnyway, I had Lou read your script \n\t\tfor me.", "BARTON\n\t\t...Yes, thank you.\n\n\t\t\t\tLIPNIK\n\t\tLou.", "LOU\n\t\tMr. Lipnik, please –\n\n\t\t\t\tBARTON\n\t\tI – Mr. Lipnik –", "BARTON\n\t\tBut Lipnik said he wanted to look at \n\t\tthe script, see something by the end \n\t\tof the week." ], [ "AUDREY\n\t\tBarton. You see, Barton, I'm not \n\t\tjust Bill's secretary – Bill and I \n\t\tare... I love. We-", "He sits down next to Audrey. Audrey's tone is gentle.", "They enter the main room, where Audrey perches on the edge \n\tof the bed.", "He stops short and turns back again to the room. He averts \n\this eyes – as it happens, toward the secretary.\n\n\tHe walks stiffly over and sits, his back to Audrey.", "BARTON\n\t\tYes I am. I'm working on a wres – \n\t\tplease call me Barton.\n\n\tAudrey reaches out and touches Barton's hand.", "He is singing – loudly – \"Old Black Joe.\"\n\n\tAudrey walks over to him.\n\n\tBARTON\n\n\tWatching her go.", "WOMAN\n\t\tMr. Fink, I'm Audrey Taylor, Mr. \n\t\tMayhew's personal secretary. I know \n\t\tthis all must sound horrid. I really \n\t\tdo apologize...", "He pulls Audrey's shoulder.\n\n\tAUDREY\n\n\tShe rolls onto her back. Her eyes are wide and lifeless.", "Barton swings his feet off the bed.\n\n\tTHE DOORWAY\n\n\tBarton opens the door to Audrey.", "Audrey glances back as we hear the sound of shattering dishes \n\tand heavy footsteps.\n\n\t\t\t\tBARTON\n\t\tI see.", "Audrey smiles at him.\n\n\t\t\t\tAUDREY\n\t\tPerhaps the three of us, Mr. Fink.\n\n\t\t\t\tBARTON\n\t\tPlease, Barton.", "AUDREY\n\t\t...Who is this?\n\n\t\t\t\tBARTON\n\t\tBarton. I'm sorry, it's Barton Fink.", "AUDREY\n\t\tBefore what?\n\n\t\t\t\tBARTON\n\t\tBefore Bill came to Hollywood.\n\n\tAudrey is clearly reluctant to travel this path.", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "AUDREY\n\t\tYes, I'm afraid I have.\n\n\t\t\t\tBARTON\n\t\tWhat are they like? What are they \n\t\tabout?", "AUDREY\n\t\tNo, sometimes he just... well, he \n\t\tthinks about Estelle. His wife still \n\t\tlives in Fayettesville. She's... \n\t\tdisturbed.", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "AUDREY\n\t\t...I know this must look... funny.\n\n\t\t\t\tBARTON\n\t\tNo, no –\n\n\tHurriedly:", "AUDREY\n\t\tBill –", "AUDREY\n\t\tI'm sorry, Mr. Fink. Please don't \n\t\tjudge us. Please...\n\n\tFlustered, she backs away and closes the door." ], [ "He pulls Audrey's shoulder.\n\n\tAUDREY\n\n\tShe rolls onto her back. Her eyes are wide and lifeless.", "HIS POV\n\n\tAudrey's corpse, in long shot, face up on the bed.\n\n\tBARTON", "CLOSE ON BARTON\n\n\tAs he sits in. He stares emptily down at the desk, in shock, \n\ttotally shut down. Behind him, we can see Audrey on the bed.", "They enter the main room, where Audrey perches on the edge \n\tof the bed.", "Barton swings his feet off the bed.\n\n\tTHE DOORWAY\n\n\tBarton opens the door to Audrey.", "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "BARTON\n\t\t...Uh-huh... Where's Audrey?\n\n\t\t\t\tCHARLIE\n\t\tShe's dead, Barton! If that was her \n\t\tname.", "He stops short and turns back again to the room. He averts \n\this eyes – as it happens, toward the secretary.\n\n\tHe walks stiffly over and sits, his back to Audrey.", "We frame up on the door to the bathroom and track in toward \n\tthe sink. We can hear the creak of bedsprings and Audrey and \n\tBarton's breath, becoming labored.", "Audrey glances back as we hear the sound of shattering dishes \n\tand heavy footsteps.\n\n\t\t\t\tBARTON\n\t\tI see.", "Gingerly, he reaches over and draws the blanket down Audrey's \n\tback.\n\n\tHIS POV\n\n\tThe alabaster white of Audrey's back.", "He is singing – loudly – \"Old Black Joe.\"\n\n\tAudrey walks over to him.\n\n\tBARTON\n\n\tWatching her go.", "He sits down next to Audrey. Audrey's tone is gentle.", "MAYHEW\n\t\tI said drown 'em all! Who is that?\n\n\tThere is more clatter.\n\n\tAudrey's voice is hushed, close to the phone:", "HIS POV\n\n\tAudrey lies facing away on her side of the bed, half covered \n\tby a blanket.\n\n\tBARTON", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "HIS POV\n\n\tBlood seeps up into the sheet beneath the curve of Audrey's \n\tback.\n\n\tBARTON", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Audrey smiles at him.\n\n\t\t\t\tAUDREY\n\t\tPerhaps the three of us, Mr. Fink.\n\n\t\t\t\tBARTON\n\t\tPlease, Barton." ], [ "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "Barton scribbles on a notepad and turns to hand it to Charlie.", "Charlie hands him his parcel.\n\n\t\t\t\tCHARLIE\n\t\t...Keep this for me, till I get back.\n\n\tBarton, snuffling, accepts the package.", "Barton opens it to Charlie, who is dressed in a baggy suit, \n\this hair slicked back, a tan fedora pushed back on his head. \n\tIt is the first time we have seen him well turned out.", "Barton is tearfully sincere:\n\n\t\t\t\tBARTON\n\t\tThanks, Charlie.\n\n\tCharlie solemnly thrusts out his hand.", "Barton hesitates.\n\n\t\t\t\tCHARLIE\n\t\t...You can do it, champ!\n\n\tBarton complies.", "CHARLIE\n\t\tWell Christ, if there's any way I \n\t\tcan contribute, or help, or whatever–\n\n\tBarton chuckles and extends his hand.", "CHARLIE\n\t\tBecause that would mean they gave \n\t\tyou mine.\n\n\t\t\t\tBARTON\n\t\tYeah, as a matter of fact they did. \n\t\tCome on in.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "CHARLIE\n\t\tOkay.\n\n\tHe turns and pushes open the door.\n\n\tBARTON'S ROOM\n\n\tThe two men enter.", "Charlie laughs.\n\n\t\t\t\tCHARLIE\n\t\tWhatever that means.\n\n\tBarton smiles with him.", "Barton slams down the phone.\n\n\tLIPNIK'S OFFICE\n\n\tBarton enters, still clinging on to Charlie's parcel.", "Barton strains at his handcuffs.\n\n\tHIS POV\n\n\tThrough the open doorway we see Charlie pass, pushing two \n\tshells into his shotgun.", "Charlie, walking down the hall, glances in and seems mildly \n\tsurprised to see Barton. The set of his jaw relaxes. His \n\texpression softens. He pushes his hat farther back on his \n\thead.", "CHARLIE\n\t\tBarton. Can I come in?\n\n\tBarton stands back from the door and Charlie picks up his \n\tbriefcase and enters.\n\n\tTHE ROOM", "But before the move even seems completed Charlie is standing \n\tagain, offering his hand down to Barton.", "BARTON\n\t\tSure, sure Charlie, you can help by \n\t\tjust being yourself.\n\n\t\t\t\tCHARLIE\n\t\tWell, I can tell you some stories –", "He looks back at Charlie.\n\n\t\t\t\tBARTON\n\t\t...This must be boring you.\n\n\t\t\t\tCHARLIE\n\t\tNot at all. It's damned interesting.", "CHARLIE\n\t\tBarton!\n\n\tHe shakes is head and whistles.\n\n\t\t\t\tCHARLIE\n\t\t...Brother, is it hot.", "CHARLIE\n\t\tYou passed out.\n\n\tBarton looks groggily up." ], [ "Barton throws his valise onto the bed where it sinks, \n\tjittering. He shrugs off his jacket.\n\n\tPips of sweat stand out on Barton's brow. The room is hot.", "THE HOTEL ROOM\n\n\tNight. Barton paces frantically back and forth.\n\n\tHe looks at his watch.\n\n\tHIS POV", "Crushing against the Pacific shore.\n\n\tThe roar of the surf slips away as we dissolve to:\n\n\tHOTEL LOBBY", "He walks across the room, switches on an oscillating fan and \n\tstruggles to throw open the window. After he strains at it \n\tfor a moment, it slides open with a great wrenching sound.", "Finally there is a last creak of bedsprings and the sound of \n\tCharlie grunting under great weight.\n\n\tWe hear heavy footsteps approaching.", "As he runs down the flaming hallway, pursued by flames, smoke, \n\tand Karl Mundt – who, also on the run, levels his shotgun.\n\n\tBOOM!", "The room is small and cheaply furnished. There is a lumpy \n\tbed with a worn yellow coverlet, an old secretary table, and \n\ta wooden luggage stand.", "After another silent beat, we hear – muffled, probably from \n\tam adjacent room – a brief, dying laugh. It is sighing and \n\tweary, like the end of a laughing fit, almost a sob.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "WHAPP! An infantry man tags Barton's chin on the button. \n\tBodies surge. The crowd gasps. The band blares nightmarishly \n\ton.\n\n\tHOTEL HALLWAY", "After a beat, in the foreground, the only motion in the scene: \n\tA bead of tacky yellow wall-sweat dribbles down the near \n\twall.", "He closes the trap door, steps up to the desk and sticks his \n\tfinger out to touch the small silver bell, finally muting \n\tit.\n\n\tThe lobby is now silent again.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "As Barton emerges. Flames lick the walls, causing the \n\twallpaper to run with the tack glue sap. Smoke fills the \n\thallway. Barton looks down the hall.", "Finally, when we hear the distant ding of the elevator \n\tarriving for Charlie, it erupts:\n\n\tBarton sobs, with the unself-conscious grief of an abandoned \n\tchild.", "Charlie is perspiring heavily. The fire rumbles in the \n\thallway.", "He feeds in a blank sheet and resumes his rapid typing. He \n\tis sweating, unshaven, and more haggard even than when we \n\tleft him the previous night.", "Barton stands at the door, listening to a very faint squeak. \n\tEventually it becomes inaudible.\n\n\tHe cracks the door again, looks out, and exits.", "and his body and face glisten with sweat. The bed's sheets \n\thave been stripped and the ratty gray mattress has an enormous \n\trust-red stain in the middle.", "We are in the sixth-floor hallway of the Earle, late at night. \n\tA pair of shoes sits before each door. Faintly, from one of" ], [ "thinks – well, he said you were a \n\t\tbuffoon, Barton. He becomes \n\t\tirrational–", "BARTON\n\t\tYeah...\n\n\tHe gives a sad chuckle.", "BARTON\n\t\tReally?...\n\n\tHe considers this for a moment, but his anger returns.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Staring, as the end-of-the-tether laughing continues. Barton \n\tlooks back down at his typewriter as if to resume work, but \n\tthe sound is too insistent to ignore.", "We pan down to Barton, who is riding down with Pete, the old \n\televator operator. Barton's voice is hoarse with fatigue.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "BARTON\n\t\tThanks, Garland. Thanks for all the \n\t\tencouragement.\n\n\tHe slams down the phone.\n\n\tOVER HIS SHOULDER", "He laughs at his reference to Barton's curly hair, and pulls \n\ta dog-eared photograph from his wallet. As he hands it to \n\tBarton:", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "Lou has entered with a drink, which he sets next to Barton. \n\tLou sits.\n\n\tBarton looks around, takes the drink, sips at it greedily, \n\tbut must finally take the plunge.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "BARTON\n\t\tBut Charlie – why me? Why –\n\n\t\t\t\tCHARLIE\n\t\tBecause you DON'T LISTEN!", "For some reason, Barton is angry.", "Later. Barton, still in his underwear, sits leaning against \n\tthe wall, staring glassily at his feet.", "Our track has brought Barton into frame in the foreground, \n\tunshaven, unkempt, bellowing into the telephone. In a hallway \n\tin the background, a secretary gestures for Barton to hurry \n\tup.", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "TRACK IN ON BARTON\n\n\tHe flinches.\n\n\tThe gunshot echoes away.\n\n\tBarton strains at the handcuffs.", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him.", "BARTON\n\n\tHe gives a nervous smile – more like a tic – and looks back \n\tdown at his hands. We hear the man gargling water and spitting \n\tinto the sink." ], [ "BARTON FINK\n\n Screenplay\n\n By\n\n Ethan Coen & Joel Coen", "AUDREY\n\t\t...Who is this?\n\n\t\t\t\tBARTON\n\t\tBarton. I'm sorry, it's Barton Fink.", "new voice in the American theater \n\t\thas arrived, and the owner of that \n\t\tvoice is named... Barton Fink.\"", "Barton Fink is ushered into a large, light office by an \n\tobsequious middle- aged man in a sagging suit.\n\n\tThere are mosquito bites on Barton's face.", "\"THE BURLYMAN \n\tMotion Picture Scenario \n\tBy \n\tBarton Fink\"", "BARTON\n\t\tThat's okay, Charlie. I'm a \n\t\tplaywright. My shows've only played", "BARTON\n\t\tHello... Chet? This is Barton Fink \n\t\tin room 605. Yes, there's uh, there's", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton turns furiously against the crowd.\n\n\t\t\t\tBARTON\n\t\tI'm a writer, you monsters! I CREATE! \n\t\tHe points at his head.", "BARTON\n\t\tThe play was marvelous. She wept, \n\t\tcopiously. Millions of dollars and \n\t\tno sense.\n\n\tGarland smiles, then draws Barton close.", "Barton Fink enters frame from beneath the camera and stops \n\tin the middle foreground to look across the lobby.", "MAN\n\t\tIs that him?! Barton Fink?! Lemme \n\t\tput my arms around this guy!\n\n\tHe bear-hugs Barton.", "Barton Fink seems dazed. He has been joined by two other \n\tmen, both dressed in tuxedos, both beaming toward the stage.\n\n\tBARTON'S POV", "We hear a door open and close, then approaching footsteps. A \n\ttall, dark actor in a used tweed suit and carrying a beat-up \n\tvalise passes in front of Barton: From offscreen stage:", "Some time later; Barton still types. He is face to us; beyond \n\thim we can see the bed with its rust-colored stain.\n\n\tThe phone rings. Barton ignores it. It continues to ring.", "SECRETARY\n\t\tBarton Fink.\n\n\t\t\t\tGEISLER\n\t\tYeah. Fink. Come in.", "first time out. The important thing \n\t\tis we all have that Barton Fink \n\t\tfeeling, but since you're Barton", "Barton opens the paper. A headline reads: Writer Found \n\tHeadless in Chavez Ravine. The story has two pictures – a", "BARTON\n\t\tHello, Chet, it's Barton Fink in \n\t\t605. Can you try a number for me in", "Barton is walking toward two wing chairs in the shadows, \n\tfrom which two men in suits are rising. One is tall, the \n\tother short.\n\n\t\t\t\tPOLICEMAN\n\t\tFink?" ], [ "Angeles. Barton, Capitol Pictures \n\t\twants to put you under contract. \n\t\tThey've offered you a thousand dollars", "hell you want. The writer is king \n\t\there at Capitol Pictures. You don't \n\t\tbelieve me, take a look at your", "BARTON\n\t\tYou wrote Bill's scripts! Jesus \n\t\tChrist, you wrote his – what about \n\t\tbefore that?", "AUDREY\n\t\tWell... THIS.\n\n\t\t\t\tBARTON\n\t\tYou wrote his scripts for him?", "BARTON\n\t\tWhere there's life there's hope.\n\n\tCharlie laughs.\n\n\t\t\t\tCHARLIE\n\t\tThat proves you really are a writer!", "BARTON\n\t\tWell as a matter of fact, I write \n\t\tfor the pictures.\n\n\t\t\t\tMASTRIONOTTI\n\t\tBig fuckin' deal.", "BARTON\n\t\tThe play was marvelous. She wept, \n\t\tcopiously. Millions of dollars and \n\t\tno sense.\n\n\tGarland smiles, then draws Barton close.", "BARTON\n\t\tYes sir, they –\n\n\t\t\t\tLIPNIK\n\t\tAnyway, I had Lou read your script \n\t\tfor me.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "BARTON\n\t\tNo, I'm actually writing for the \n\t\tpictures now –\n\n\t\t\t\tCHARLIE\n\t\tPictures! Jesus!", "BARTON FINK\n\n Screenplay\n\n By\n\n Ethan Coen & Joel Coen", "Lou has entered with a drink, which he sets next to Barton. \n\tLou sits.\n\n\tBarton looks around, takes the drink, sips at it greedily, \n\tbut must finally take the plunge.", "Barton opens the paper. A headline reads: Writer Found \n\tHeadless in Chavez Ravine. The story has two pictures – a", "He jots an address on a piece of paper and hands it to Barton.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "BARTON\n\t\tI'm a writer. Ted Okum said you're \n\t\tproducing this Wallace Beery picture \n\t\tI'm working on.", "BARTON\n\t\tI want to know how many of Bill's \n\t\tbooks you wrote!\n\n\t\t\t\tAUDREY\n\t\tBarton!", "Barton smiles.\n\n\t\t\t\tBARTON\n\t\tAnd there's hope for you too, Charlie. \n\t\tTomorrow I bet you sell a half-dozen \n\t\tpolicies.", "BARTON\n\t\tWell what do I tell him?\n\n\tGeisler rubs a temple, studies Barton for a beat, then picks \n\tup a telephone." ], [ "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "BARTON\n\n\tHe gives a nervous smile – more like a tic – and looks back \n\tdown at his hands. We hear the man gargling water and spitting \n\tinto the sink.", "BARTON\n\t\tCharlie! I've got no one else here! \n\t\tYou're the only person I know in Los \n\t\tAngeles...\n\n\tHe starts weeping", "We hold on Barton as we hear Mayhew's faucet being turned \n\toff and his foot-steps receding. For some reason, Barton's \n\teyes are widening.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Later. It is quiet. We are craning down toward the bed, where \n\tBarton lies stretched out, his head buried beneath a pillow \n\tas if to blot out the world.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "Barton stands with his back to the sink, facing the little \n\tman, his hands dripping onto the floor. There is a short \n\tpause. Barton is strangely agitated, his voice halting but \n\turgent.", "As Barton crosses the room we follow to reveal a sink and \n\twash basin, a house telephone on a rickety night stand, and \n\ta window with yellowing sheers looking on an air shaft.", "The telephone rings. After several rings Barton stops typing \n\tand answers it, absently, still looking at his work. His \n\tvoice is hoarse.", "BARTON\n\t\tYeah...\n\n\tHe gives a sad chuckle.", "As Barton emerges. Flames lick the walls, causing the \n\twallpaper to run with the tack glue sap. Smoke fills the \n\thallway. Barton looks down the hall.", "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Barton opens the paper. A headline reads: Writer Found \n\tHeadless in Chavez Ravine. The story has two pictures – a", "BARTON\n\n\tHis eyes move this way and that. After a silent beat, he \n\tshuts them again.", "Barton paces." ], [ "Gradually, she collects herself, wiping her tears.\n\n\t\t\t\tAUDREY\n\t\t...Oh Barton, I feel so... sorry for \n\t\thim!", "AUDREY\n\t\tMaybe you better too, Barton. Before \n\t\tyou get buried under his manure.\n\n\tMayhew chuckles.", "HIS POV\n\n\tAudrey touches Mayhew's elbow. He looks at her, stops singing, \n\tshe murmurs something, and he bellows:", "BARTON\n\t\tWhat. What don't I understand?\n\n\tAudrey gazes at him.\n\n\tMAYHEW", "MAYHEW\n\t\tI said drown 'em all! Who is that?\n\n\tThere is more clatter.\n\n\tAudrey's voice is hushed, close to the phone:", "WOMAN\n\t\tMr. Fink, I'm Audrey Taylor, Mr. \n\t\tMayhew's personal secretary. I know \n\t\tthis all must sound horrid. I really \n\t\tdo apologize...", "MAYHEW\n\t\tGoddamn voices... DROWN 'EM!\n\n\t\t\t\tBARTON\n\t\tI need help, Audrey.", "AUDREY\n\t\tI am sorry, it's so embarassing.\n\n\t\t\t\tBARTON\n\t\tHow about you? Will you be alright?", "He sits down next to Audrey. Audrey's tone is gentle.", "BARTON\n\n\tHe rises.\n\n\tAUDREY\n\n\tComing back to Barton.\n\n\tMAYHEW", "He pulls Audrey's shoulder.\n\n\tAUDREY\n\n\tShe rolls onto her back. Her eyes are wide and lifeless.", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "AUDREY\n\t\tI'm sorry, Mr. Fink. Please don't \n\t\tjudge us. Please...\n\n\tFlustered, she backs away and closes the door.", "BARTON\n\t\tAudrey, thank you for coming. Thank \n\t\tyou. I'm sorry to be such a... such \n\t\ta... Thank you.", "Mayhew looks at her narrowly.", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "WOMAN\n\t\tMr. Mayhew is indisposed at the \n\t\tmoment–\n\n\tFrom inside, we hear Mayhew's wail.", "BARTON\n\t\tOkay, but that doesn't excuse his –\n\n\t\t\t\tAUDREY\n\t\tBarton. Empathy requires... \n\t\tunderstanding.", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Muted, from inside, we hear Mayhew's voice – enraged, \n\tbellowing. We hear things breaking. Softer, we hear a woman's \n\tvoice, its tone placating." ], [ "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "BARTON\n\t\tYes I am. I'm working on a wres – \n\t\tplease call me Barton.\n\n\tAudrey reaches out and touches Barton's hand.", "BARTON\n\t\t...Uh-huh... Where's Audrey?\n\n\t\t\t\tCHARLIE\n\t\tShe's dead, Barton! If that was her \n\t\tname.", "HIS POV\n\n\tAudrey's corpse, in long shot, face up on the bed.\n\n\tBARTON", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "Barton swings his feet off the bed.\n\n\tTHE DOORWAY\n\n\tBarton opens the door to Audrey.", "AUDREY\n\t\t...Who is this?\n\n\t\t\t\tBARTON\n\t\tBarton. I'm sorry, it's Barton Fink.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "AUDREY\n\t\tMaybe you better too, Barton. Before \n\t\tyou get buried under his manure.\n\n\tMayhew chuckles.", "BARTON\n\t\tAudrey, listen, I need help. I know \n\t\tit's late and I shouldn't be calling", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "BARTON\n\t\tAudrey, thank you for coming. Thank \n\t\tyou. I'm sorry to be such a... such \n\t\ta... Thank you.", "We pull back to frame in Barton as we hear his call ring \n\tthrough. Barton sweats.\n\n\t\t\t\tBARTON\n\t\tPick it up... Pick it up. Pick it-", "CLOSE ON BARTON\n\n\tAs he sits in. He stares emptily down at the desk, in shock, \n\ttotally shut down. Behind him, we can see Audrey on the bed.", "BARTON\n\n\tHe rises.\n\n\tAUDREY\n\n\tComing back to Barton.\n\n\tMAYHEW", "Audrey glances back as we hear the sound of shattering dishes \n\tand heavy footsteps.\n\n\t\t\t\tBARTON\n\t\tI see.", "BARTON\n\t\tNo, but the whole goddamn – Audrey? \n\t\tHave you ever had to read any of \n\t\tBill's wrestling scenarios?\n\n\tAudrey laughs.", "BARTON\n\t\tWell what do I tell him?\n\n\tGeisler rubs a temple, studies Barton for a beat, then picks \n\tup a telephone.", "BARTON\n\t\tOkay, but that doesn't excuse his –\n\n\t\t\t\tAUDREY\n\t\tBarton. Empathy requires... \n\t\tunderstanding." ], [ "CHARLIE\n\t\tHell no! Call me Charlie. Well Barton, \n\t\tyou might say I sell peace of mind.", "CHARLIE\n\t\t...Don't look at me like that, \n\t\tneighbor. It's just me – Charlie.", "Barton opens it to Charlie, who is dressed in a baggy suit, \n\this hair slicked back, a tan fedora pushed back on his head. \n\tIt is the first time we have seen him well turned out.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "Charlie gets to his feet.\n\n\t\t\t\tCHARLIE\n\t\tI'm getting off the merry-go-round.\n\n\tHe takes his shotgun and walks to the door.", "CHARLIE\n\t\tBarton!\n\n\tHe shakes is head and whistles.\n\n\t\t\t\tCHARLIE\n\t\t...Brother, is it hot.", "BARTON\n\t\t...Once or twice. His name is Charlie \n\t\tMeadows.\n\n\t\t\t\tMASTRIONOTTI\n\t\tYeah, and I'm Buck Rogers.", "BARTON\n\t\tExactly, Charlie! You understand \n\t\twhat I'm saying – a lot more than \n\t\tsome of these literary types. Because \n\t\tyou're a real man!", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "CHARLIE\n\t\tBarton. Can I come in?\n\n\tBarton stands back from the door and Charlie picks up his \n\tbriefcase and enters.\n\n\tTHE ROOM", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "Screams.\n\n\tCHARLIE\n\n\tTightens a finger over both triggers. He squeezes.\n\n\tBLAM!", "CHARLIE\n\t\t...Good people. By the way, that \n\t\tpackage I gave you? I lied. It isn't \n\t\tmine.\n\n\tHe leaves.", "Finally there is a last creak of bedsprings and the sound of \n\tCharlie grunting under great weight.\n\n\tWe hear heavy footsteps approaching.", "CHARLIE\n\t\tJesus, people can be cruel...\n\n\tHe takes a long draught from his flask, then gives a haunted \n\tstare.", "BARTON\n\t\tWell, that's a good question. Strange \n\t\tas it may seem, Charlie, I guess I", "BARTON\n\t\tI hear it's Mundt. Madman Mundt.\n\n\tCharlie reaches a flask from his pocket.", "Finally, when we hear the distant ding of the elevator \n\tarriving for Charlie, it erupts:\n\n\tBarton sobs, with the unself-conscious grief of an abandoned \n\tchild.", "Charlie laughs.\n\n\t\t\t\tCHARLIE\n\t\tWhatever that means.\n\n\tBarton smiles with him.", "Charlie hands him his parcel.\n\n\t\t\t\tCHARLIE\n\t\t...Keep this for me, till I get back.\n\n\tBarton, snuffling, accepts the package." ], [ "CHARLIE\n\t\tWell it's pathetic, isn't it? I mean \n\t\tto a guy from New York.\n\n\t\t\t\tBARTON\n\t\tWhat do you mean?", "CHARLIE\n\t\tIn a few days. Out to your stompin' \n\t\tgrounds as a matter of fact – New", "BARTON\n\t\tNew York can be pretty cruel to \n\t\tstrangers, Charlie. If you need a", "New York. Last one got a hell of a \n\t\twrite-up in the Herald. I guess that's \n\t\twhy they wanted me here.", "Barton opens it to Charlie, who is dressed in a baggy suit, \n\this hair slicked back, a tan fedora pushed back on his head. \n\tIt is the first time we have seen him well turned out.", "Charlie gets to his feet.\n\n\t\t\t\tCHARLIE\n\t\tI'm getting off the merry-go-round.\n\n\tHe takes his shotgun and walks to the door.", "Finally, when we hear the distant ding of the elevator \n\tarriving for Charlie, it erupts:\n\n\tBarton sobs, with the unself-conscious grief of an abandoned \n\tchild.", "BARTON\n\t\tSee you, Charlie.\n\n\tCharlie closes the door and is gone.\n\n\tBarton goes back to his desk and sits.", "Charlie looks into his eyes. For a moment the two men stare \n\tat each other – Charlie's look inquisitive, Barton's \n\tsupplicating.\n\n\tFinally, Charlie nods.", "BARTON\n\t\tWell, that's a good question. Strange \n\t\tas it may seem, Charlie, I guess I", "Charlie looks at him with some concern, then turns and heads \n\tfor the door.", "CHARLIE\n\t\tFunny, huh, when everything that's \n\t\timportant to a guy, everything he", "CHARLIE\n\t\tThanks, brother. But the fact is, I \n\t\tgotta pull up stakes temporarily.\n\n\t\t\t\tBARTON\n\t\tYou're leaving?", "BARTON\n\t\tExactly, Charlie! You understand \n\t\twhat I'm saying – a lot more than \n\t\tsome of these literary types. Because \n\t\tyou're a real man!", "He looks back at Charlie.\n\n\t\t\t\tBARTON\n\t\t...This must be boring you.\n\n\t\t\t\tCHARLIE\n\t\tNot at all. It's damned interesting.", "CHARLIE\n\t\tHave to, old timer. Just for a while.\n\n\tBarton sounds desperate:", "CHARLIE\n\t\tWhat a dump...\n\n\tHe heads for the door and Barton follows.", "CHARLIE\n\t\t...Jesus it's hot. Sometimes it gets \n\t\tso hot, I wanna crawl right out of \n\t\tmy skin.\n\n\tSelf-pity:", "CHARLIE\n\t\tWhy don't we go to your room-\n\n\t\t\t\tBARTON\n\t\tCharlie, I'm in trouble. You've gotta \n\t\thelp me.", "BARTON\n\t\tWell, we've got something in common \n\t\tthen.\n\n\tCharlie is getting to his feet and walking to the door." ], [ "We are looking down, high angle, form one corner of the room. \n\tWe are presented with a motionless tableau: Barton sits,", "Muffled, we can hear the door of the adjacent room opening \n\tand closing.\n\n\tBarton looks at the wall.\n\n\tHIS POV", "As Barton crosses the room we follow to reveal a sink and \n\twash basin, a house telephone on a rickety night stand, and \n\ta window with yellowing sheers looking on an air shaft.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him.", "As Barton emerges. Flames lick the walls, causing the \n\twallpaper to run with the tack glue sap. Smoke fills the \n\thallway. Barton looks down the hall.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Barton throws his valise onto the bed where it sinks, \n\tjittering. He shrugs off his jacket.\n\n\tPips of sweat stand out on Barton's brow. The room is hot.", "BARTON\n\t\tHe looks around to the opposite – \n\t\tbed – wall.\n\n\tHIS POV", "HIS ROOM\n\n\tAs Barton enters.", "Barton pauses, trying to interpret the sound. He slowly \n\twithdraws into his room.\n\n\tHIS ROOM", "Barton rises and walks over to his writing table.", "Barton opens his eyes.\n\n\tHIS POV\n\n\tA naked, peeling ceiling. The hum – a mosquito, perhaps – \n\tstops.", "Barton, disheveled, emerges and stumbles wearily down the \n\thall. He stops in front of his door, takes his key out, and \n\tenters the room.", "WIDE SHOT\n\n\tThe room, Barton sitting at his desk, staring at the wall. \n\n\tThe laughter.", "BARTON'S ROOM\n\n\tThe cut has a hard musical sting. Out of the sting comes a \n\tloud but distorted thumping noise.", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "The room is dark. Barton lies fully clothed, stretched out \n\ton the bed, asleep. The hum of the mosquito fades up in the \n\tstillness.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "He cradles the phone. The laughter continues for a moment or \n\ttwo, then abruptly stops with the muffled sound of the \n\ttelephone ringing next door.\n\n\tBarton looks at the wall." ], [ "THE HOTEL ROOM\n\n\tNight. Barton paces frantically back and forth.\n\n\tHe looks at his watch.\n\n\tHIS POV", "Crushing against the Pacific shore.\n\n\tThe roar of the surf slips away as we dissolve to:\n\n\tHOTEL LOBBY", "BARTON'S HOTEL ROOM", "Down the beach, a bathing beauty walks along the edge of the \n\twater. She looks much like the picture on the wall in Barton's \n\thotel room.\n\n\tBARTON", "WHAPP! An infantry man tags Barton's chin on the button. \n\tBodies surge. The crowd gasps. The band blares nightmarishly \n\ton.\n\n\tHOTEL HALLWAY", "The room is small and cheaply furnished. There is a lumpy \n\tbed with a worn yellow coverlet, an old secretary table, and \n\ta wooden luggage stand.", "CLERK\n\t\tWelcome to the Hotel Earle. May I \n\t\thelp you, sir?\n\n\t\t\t\tBARTON\n\t\tI'm checking in. Barton Fink.", "Barton throws his valise onto the bed where it sinks, \n\tjittering. He shrugs off his jacket.\n\n\tPips of sweat stand out on Barton's brow. The room is hot.", "Next to the typewriter are a few sheets of house stationary: \n\t\"THE HOTEL EARLE: A DAY OR A LIFETIME.\"", "BARTON'S HOTEL ROOM\n\n\tFrom a high angle, booming down on Barton.", "CLERK\n\t\t...Though we provide privacy for the \n\t\tresidential guest, we are also a \n\t\tfull service hotel including", "We are framed on his back, his coat and hat. The lobby is \n\tempty. There is a suspended beat as Barton takes it in. \n\n\tBarton moves toward the front desk.", "BARTON\n\t\tWell, I'm going to be working here, \n\t\tmostly at night; I'm a writer. Do \n\t\tyou have room service?", "On the nightstand next to the bed. With a groan of bedsprings \n\tBarton sits into frame and picks up the telephone.\n\n\t\t\t\tVOICE\n\t\tHow d'ya like your room!", "He pushes a room key across the counter on top of the index \n\tcard.\n\n\tBarton looks at the card.", "After another silent beat, we hear – muffled, probably from \n\tam adjacent room – a brief, dying laugh. It is sighing and \n\tweary, like the end of a laughing fit, almost a sob.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "LIPNIK\n\t\tNever heard of it. Let's move him to \n\t\tthe Grand, or the Wilshire, or hell, \n\t\the can stay at my place.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him." ], [ "Barton swings his feet off the bed.\n\n\tTHE DOORWAY\n\n\tBarton opens the door to Audrey.", "Barton draws his hand away. Audrey's back is smeared with \n\tblood.\n\n\tON BARTON\n\n\tHe looks at his hand.", "CLOSE ON BARTON\n\n\tAs he sits in. He stares emptily down at the desk, in shock, \n\ttotally shut down. Behind him, we can see Audrey on the bed.", "She laughs – then stops, realizing that she has laughed. She \n\tlooks at Barton.\n\n\t\t\t\tAUDREY\n\t\t...Barton.", "HIS POV\n\n\tAudrey's corpse, in long shot, face up on the bed.\n\n\tBARTON", "BARTON\n\t\tWell... actually, no Bill...\n\n\tBarton looks nervously at Audrey before continuing.", "BARTON\n\t\t...Uh-huh... Where's Audrey?\n\n\t\t\t\tCHARLIE\n\t\tShe's dead, Barton! If that was her \n\t\tname.", "Barton lingers by the door. Charlie walks into the foreground \n\tto look off toward the bed.\n\n\tHis eyes widen and he screams.", "Barton looks down at his typewriter for a beat. The \n\tlaughter/weeping continues.\n\n\tHe walks over to his bed, sits down and picks up the house \n\tphone.", "Barton rises and exits frame; we hold on to the bed in the \n\tbackground. We hear Barton's footsteps on the bathroom tile \n\tas the phone continues ringing.", "Audrey glances back as we hear the sound of shattering dishes \n\tand heavy footsteps.\n\n\t\t\t\tBARTON\n\t\tI see.", "BARTON\n\n\tSitting at the desk, staring at the picture. From his glazed \n\teyes and the way his mouth hangs open, we may assume he has \n\tbeen staring at the picture for some time.", "BARTON\n\n\tHe rises.\n\n\tAUDREY\n\n\tComing back to Barton.\n\n\tMAYHEW", "Barton hesitates, listening; he thinks, decides, knocks. \n\n\tWith this the woman's voice stops, and Mayhew starts wailing \n\tagain.", "Breaking the silence, muffled laughter from an adjacent room. \n\tA man's laughter. It is weary, solitary, mirthless.\n\n\tBarton looks up at the wall directly in front of him.", "Barton walks across the room and sits carefully at the edge \n\tof the bed, avoiding the rust-colored stain. For a long beat, \n\the sits still, but something is building inside.", "He is singing – loudly – \"Old Black Joe.\"\n\n\tAudrey walks over to him.\n\n\tBARTON\n\n\tWatching her go.", "Barton's head spins towards the door. He is momentarily \n\tfrozen.\n\n\tAnother knock.\n\n\tBarton leaps to his feet and hurries to the door.", "Barton, disheveled, emerges and stumbles wearily down the \n\thall. He stops in front of his door, takes his key out, and \n\tenters the room.", "BARTON\n\t\tYes I am. I'm working on a wres – \n\t\tplease call me Barton.\n\n\tAudrey reaches out and touches Barton's hand." ] ]

[ "Why does Barton stay at The Earle?", "Where does Barton meet \"Bill\" Mayhew?", "Who helps Barton cover up a death?", "Who does Barton confess to, that he and Audrey had sex?", "Why is Barton told to remain in Los Angeles?", "Who handcuffs Barton to the bed?", "What is Karl Mundt wanted for?", "What are you lead to believe that Barton is carrying around in the box?", "What play has Barton Fink made at the beginning?", "Where does Barton travel to?", "What is the only decoration in Barton's hotel room?", "Who does Barton meet late at night?", "Why is Lipnick upset with Barton?", "Who does Audrey work for?", "Where is Audrey's body found?", "What is given to Barton by Charlie?", "Why is the hotel so hot at the end?", "Why is Barton told he will be ridiculed as a loser?", "What is Barton Fink's first Broadway play called?", "How much is Barton offered by Capitol Pictures to write scripts?", "What does Barton worry moving to California will do?", "Why does Audrey feel sorry for Mayhew?", "Who does Barton call to dispose of Audrey's body?", "What is Charlie's real name?", "Why did Charlie really go to New York?", "What is there a painting of in Barton's room?", "What is the hotel called?", "What is Barton doing when he discovers Audrey's death?" ]

[ [ "Its less \"Hollywood\"", "He wanted lodging that was \"less Hollywood\"" ], [ "In the men's room", "men\"s room" ], [ "Charlie", "Charlie Meadows" ], [ "Charlie", "Charlie" ], [ "To be ridiculed around the studio for writing a bad script", "He will remain under contract to Capitol Pictures." ], [ "The police", "police" ], [ "Murder", "murder" ], [ "A head", "Audrey\"s head" ], [ "Bare Ruined Choirs", "Bare Ruined Choirs" ], [ "California", "Hollywood, California" ], [ "A painting of a woman on the beach", "A picture of a woman on a beach" ], [ "Charlie", "Charlie" ], [ "Barton hasn't written anything on the script", "Because he was disappointed with the fruity movie about suffering that Barton has written" ], [ "Mayhew", "Mayhew" ], [ "In Barton's hotel room", "in Barton\"s bed" ], [ "A box", "A package." ], [ "The hotel was set on fire", "It is on fire" ], [ "Lipnick told Barton that Capital will never produce any of Barton's scripts", "Capitol Pictures will not produce anything he writes." ], [ "Bare Ruined Choirs", "Bare Ruined Choirs." ], [ "a thousand dollars a week", "$1,000 per week" ], [ "separate him from the common man ", "He will lose touch with the common man" ], [ "Because he is married to a disturbed woman", "he has a disturbed wife" ], [ "Charlie", "Charlie" ], [ "Karl Madman Mundt", "Karl \"Madman\" Mundt" ], [ "to kill Barton's parents and uncle", "to visit Bartons family" ], [ "a woman on the beach", "A woman on the beach. " ], [ "Hotel Earle", "The Earle" ], [ "swatting a mosquito", "Killing a mosquito" ] ]

[ [ "\"You're alive,\" Thorvald stated bleakly. \"Garth's dead. You ought to be\ndead too.\"", "Now Thorvald had gone into action. A Throg suddenly halted, struggled\nfrantically, and toppled over into the edge of a fire splotch, legs", "\"Throg work--_this_?\" Thorvald was openly scornful. \"Throgs have no\nconception of such art. You must have seen their metal plates--those are", "Thorvald shook his head. \"Not on our records,\" he replied absently,\nstudying the dying creature with avid attention. \"Must have been driven\nin by the storm. This proves there is more in the sea then we knew!\"", "\"Thorvald----\" Again his voice and his mind call were echoes of each\nother. But this time he had no answer. Had that demand meant Thorvald", "\"And so did I,\" Thorvald said bleakly. \"You saw your skull-mountain?\"\n\n\"I was climbing it when you awoke me,\" Shann returned unwillingly.", "And Thorvald was regarding him now with frowning impatience. You were\nsupposed to humor delusions, weren't you? Only, could you surrender and", "Thorvald refolded the map and placed it in the case. Then he pulled at\nthe sealing of his blouse, groping in an inner secret pocket. He\nuncurled his fingers to display his treasure.", "\"Thorvald!\" He tried calling again. But that head, bright under the sun\ndid not turn; there was no answer. Shann tore at his clothes and kicked\noff his boots.", "\"Where?\" Did Thorvald know of some supply cache they could raid?\n\n\"From the Throgs,\" the other answered matter of factly.\n\n\"But they don't eat our kind of food....\"", "Throgs now--one answer.\" Thorvald looked back over the field where those\nbodies lay so still. \"We can kill Throgs. Maybe someday we can learn", "\"What was _I_ doing?\" came a counter demand.\n\n\"You were acting like a mind-controlled.\"\n\nThorvald stared at him incredulously, then with a growing spark of\ninterest.", "\"Could be!\" Thorvald brought out the cloth-wrapped bone coin. \"I still\nhave it.\" But he made no move to pull off the bit of rag about it.\n\"Now\"--he gazed at the wall of green--\"which way?\"", "other's faces. Thorvald's was bleak, hard, his eyes on the stream behind\nthem as if he expected at any moment to see a Throg emerge from the\nsurface of the water.", "\"Back with us again?\" Thorvald, one hand lifting a door panel, came in.\nHis ragged uniform was gone, and he wore only breeches of a sleek green\nmaterial and his own scuffed-and-battered boots.", "Thorvald listened eagerly. When the story was finished, he rubbed his\nhands across his drawn face, smearing away the last of the sand. \"At", "Shann stared into the other's face. All the eager alertness of only a\nmoment earlier had been wiped away. Thorvald was no longer the man he", "Thorvald got up, balancing on feet planted a little apart, looking to\nthe faded expanse of the waste spreading from the river cut. He stared\nat the mountains before he squatted down to fumble with the lock of the\nmap case.", "clothing, plaster hair to the skull, leaving a brine slime across the\nskin. Yet Thorvald hunted no shelter, in spite of the promise in the", "paraded for him. But he had touched! And Thorvald, too, had been aware\nof his contact." ], [ "against one Shann Lantee for being yet alive when more important men had\nnot survived.", "\"Lantee.\" Shann drew a deep breath. He was so conscious of those claws\non his shoulders, of what would follow.", "place. That will to live which had made Shann Lantee fight innumerable\nbattles in the past was in command, bracing him with a stubborn\ndetermination.", "And so Shann Lantee, most menial of the Terrans attached to the camp on\nthe planet Warlock, was left alone and weaponless in the strange,", "\"Shann....\" he began vocally, and then turned words into thoughts.\n\"Shann Lantee, Terran, man.\" He made his answer the same which had kept\nhim from succumbing to their complete domination.", "Desperately Shann held to one thing, his own sense of identity. He was\nShann Lantee, Terran breed, out of Tyr, of the Survey Service. Some part", "forward, his hands clawing for Shann's throat. He bore the younger man\ndown under him to the sand where Lantee found himself fighting\ndesperately for his life against a man who could only be mad.", "\"Name--Shann Lantee, man--yes.\" The other accepted those, \"Terran?\" That\nwas a question.\n\nDid these people have any notion of space travel? Could they understand\nthe concept of another world holding intelligent beings?", "hills. Of all the men on the Survey team, Shann Lantee had been the\nleast important. The dirty, tedious clean-up jobs, the dull routines", "When Shann protested with some heat, the other countered: \"Didn't you\never hear of fish, Lantee? After a storm such as last night's, we ought\nto discover good pickings along the shore.\"", "\"Lantee!\" A hand jerked him back, broke that compulsion--and the dream.\nShann opened his eyes with difficulty, his lashes seemed glued to his\ncheeks.", "More than caution kept him pinned on that narrow shelf of rock. Watching\nthat holocaust below, Shann Lantee could not force himself to move. The", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "inside him until he thought that he could not continue to throttle down\nthat wild happiness. There was a waiting starship. And he--Shann Lantee", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "alive. Which meant, Shann's thoughts began to make sense--sense which\nbrought apprehension--the Throgs probably intended to disable rather", "Logally drew back the lash, preparing to strike again. Shann faced a man\nfive years dead who walked and fought. Or, Shann bit hard upon his lower" ], [ "By Shann's side the wolverines were moving restlessly. Since Taggi's\nattack on the Throg neither beast would venture near any site where they", "Shann attempted to call off the wolverines, but they were out of control\nnow, digging frantically to get at this new prey. And he knew that if he", "Shann swam wearily to shore where the wolverines waited, unable yet to\nmake sense of that attack in the lagoon. What had happened to Thorvald?", "Shann thought \"danger.\" Then he raised his hand, and the wolverine\nshuffled off, heading north. The man followed.", "Shann sat down. He was very hungry, for that adventure in the lagoon had\nsapped his strength. And he was a prisoner along with the wolverines, a", "Instead, standing on their hind feet to press against him in a demand\nfor his attention, were the wolverines. And seeing them, Shann dared to\nbelieve that the impossible could be true; somehow he was safe.", "Shann's arm. But the wolverine made no sound, as if he, too, realized\nthat some menace lay beyond the rim of the valley. Would that other come", "have that shell, his one chance of escape from the Island. The\nwolverines feasted on the greenish-white flesh, but he could not bring", "The thing squalled. Ropes beat, growing taut. The wolverines backed from\njaws which snapped fruitlessly. To Shann's relief the Terran animals", "The wolverines went mad. Shann had witnessed their quick kills in the\nwilds, but this stark ferocity of spitting, howling rage was new. They", "But they were not united. Shann found the wolverines and patiently\ncoaxed and wheedled them into coming with him over a circuitous route", "occupied and prevent its escape. Shann put another piece of his raft to\nwork as a shovel, throwing up a shower of sand and gravel while sweat", "Luckily, the wolverines squeezed in beside him to fill the hole. With\ntheir warm furred bodies sandwiching him, Shann dozed, awoke, and dozed", "him in answer to his summons. But would the wolverines trust the boat?\nShann dared not risk their swimming, nor would he agree to leaving them\nbehind.", "Shann fell on his knees, as the beach around him developed a curious\ntendency to sway. He put his good hand to the ruffled back fur of the\nmotionless wolverine.\n\n\"Taggi!\"", "Shann caught hold of Taggi's scruff, pulling him along. The wolverine\ntwisted and whined, but he did not fight for freedom as he would have", "but their portion of Warlock was plunged abruptly into darkness. The\nwolverines crowded into their small haven, whining deep in their\nthroats. Shann ran his hands along their furred bodies, trying to give", "of a clump of light-willows. Shann scrambled ashore, the wolverines\nafter him, sniffling along at his heels while he overturned likely", "\"Just me and the wolverines,\" Shann answered in a colorless voice. He\ncradled the blaster on his hip, turned a little away from the officer.", "The wolverines! For the first time since Shann had heard the crackle of\nthe Throg attack he remembered the reason he had been heading into the" ], [ "Thorvald had stopped paddling at last, because that paddle had to be put\nto another use. Had Shann not released his hold on the log and gone", "\"But do the Throgs know that?\"\n\nThe implications, the possibilities, in that idea struck home to Shann.\nNow he began to understand what Thorvald might be planning.", "of more value to Shann. He steadied his body against the wall with his\ngood hand and got to his feet. Thorvald watched him.", "Thorvald. Shann pushed down on the bed of leaves he had heaped together.\nThe night was quiet. He could hear only the murmur of the sea, a lulling", "A new shape in the fog was moving with purpose toward him. Thorvald\nstrode into the open, sighted Shann, and began to run.\n\n\"What did they----?\" he began.", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "Shann could see no reason for such a laborious process. If Thorvald did\nnot want to use his ax, that was no reason that Shann could not put his", "Shann hurried forward. It had been when he caught his first sight of\nThorvald that he realized just how deep his unacknowledged loneliness", "Shann still stood, staring incredulously at the officer. Then Thorvald's\nofficial severity vanished in a smile which was warm and real.", "Again Thorvald's smile faded, but he gave a curt little nod to Shann as\nif approving that thought. \"That is something we are going to look into,", "Shann studied him and knew that Thorvald was telling the truth. He could\nremember nothing of his departure in the outrigger, the way he had", "\"Back!\" Thorvald caught at Shann again, his greater strength prevailing\nas he literally dragged the younger man into the dusk of the crevice.", "Thorvald headed back, herding the thing before him. And when he climbed\nout on the rock, Shann was pulling up his trophy. They flipped the find", "Thorvald caught Shann's slashed hand, inspecting the bleeding cut. From\nthe aid packet at his belt he brought out powder and a strip of\nprotecting plasta-flesh to cleanse and bind the wound.", "Shann stared into the other's face. All the eager alertness of only a\nmoment earlier had been wiped away. Thorvald was no longer the man he", "Shann sat down with a sigh he made no effort to suppress. He had a\nvision of Thorvald traveling southward, methodically erecting these huts", "Shann snarled, rolled over on his side. Thorvald, water dripping from\nhis rags--or rather steaming from them--his shaggy hair plastered to his\nskull, sat there.", "Thorvald nodded. \"Masters of illusion,\" he murmured.\n\n\"Mistresses,\" Shann corrected. \"This place is run by a gang of pretty\nsmart witches.\"", "\"My dream----\" Shann said.\n\n\"Your dream.\" Thorvald had not echoed that; the answer had come in his\nbrain.", "\"Thorvald?\" He called through his personal darkness. When there was no\nanswer, Shann called again, more urgently. Then he hunched forward on" ], [ "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann drew up the hood of his jacket and snapped the transparent face\nmask into place. He must get away--then find food, water, a hiding", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Shann made his way at an angle to avoid the smoking pit cradling the\nwreckage of the Terran ship. There were no signs of life about the Throg", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "any Terran now was as far from the vicinity of those silent domes as he\ncould get. Shann's slight body was an asset as he wedged through the", "Survey officer were indeed gone. Shann sat up, got to his feet,\nbreathing faster, a prickle of uneasiness spreading in him, bringing him", "Shann crept. Someone expecting a man walking erect might be suitably\ndistracted by the arrival of a half-seen figure on all fours. He halted\nagain to listen.", "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "It was when Shann knelt by the spring pool to wash that he caught the\nclamor of the clak-claks. He had seen or heard nothing of the flyers", "Shann now find that he was aware of a change in the nature of the space\nabout him. His weary arms and legs held him against the solidity of a\nwall, yet the impression that there was no longer another wall at his", "yards away. Shann waited in a half-crouch, his looted blaster covering\nthe man now getting to his feet. There was no mistaking the familiar", "Shann edged along until the upslanted, broken side of the Throg flyer\nprovided him with protection from any overhead attack. Under that\nshelter he waited for the next move from his unknown rescuer.", "And so Shann Lantee, most menial of the Terrans attached to the camp on\nthe planet Warlock, was left alone and weaponless in the strange,", "He licked dry lips. Having left secretly without any emergency pack, he\nhad no canteen, and now Shann inventoried his scant possessions--a field", "Shann scooped out a small pit just before their hut and set about the\nmaking of a pocket-sized fire. He was hungry and looked longingly now", "Now, with three of them at the digging, the brown hump was uncovered,\nand Shann pried down around its edge, trying to lever it up and over. To", "Because there was nothing else to do, Shann walked on, his boots\npressing sand, rising from each step with a small sucking sound. Then,", "The path he followed ended abruptly in a cliff drop, and Shann made a\nface at the odor rising from below, even though that scent meant he" ], [ "Shann turned his head and surveyed the Wyvern awaiting them with a\nconcentration which was close to the rudeness of an outright stare, a", "Wyverns. Shann liked the sound of that word; to his mind it well fitted\nthe Warlockian witches. And the one they were watching in action", "Shann had no idea how much time he had passed among the Wyverns; the\ntransport with its load of unsuspecting settlers might already be in the", "Shann strove to pick up the thread which could link them. Was the\ndistance between this camp and the seagirt city of the Wyverns too", "Someone else was crossing that strip of beach. Passing the Wyvern as if\nhe did not see them, Thorvald came directly to Shann. A few seconds", "Embassy post. Shann digested that. Yes, of course, Thorvald, because of\nhis close contact with the Wyverns, would be left here for the present\nto act as liaison officer-in-charge.", "enough so he could sight the Wyvern who had been leaning over Thorvald's\nshoulder centering her weird weapon on him. Making a great effort, Shann", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "touch, somewhere, Thorvald with his disk--or perhaps the Wyvern who had\ntalked of Trav and shared dreams. Shann focused his thoughts on the", "Thorvald--and the Wyverns! Could he hope for any help from them? Shann\nclosed his eyes against the thick darkness and tried to reach out to", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "This time the call came not into his mind but out of the air. Shann made\nan effort at reply which was close to a croak.\n\n\"Over here!\"", "\"Get to it!\" Shann's voice scaled up. He was close to the ragged edge,\nand the last push toward the breaking point had not been the Throg", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "something. And Shann was sure that thick vegetation could be found only\non the mainland. Not only was Thorvald ashore, but there were Wyverns", "Shann did not take fire at that rather delicate estimate of his own lack\nof preparation for the carrying out of diplomatic negotiations with the\nenemy; he knew it was true. But there was one thing he could try--if the\nWyverns permitted.", "A slight quiver answered. Shann tried awkwardly to raise the animal's\nhead with his own hand. As far as he could see, there were no open\nwounds; but there might be broken bones, internal injuries he did not\nhave the skill to heal.", "Thorvald smiled grimly. The ghostly light was fading as the fog\nretreated, but Shann could see well enough to note that around the\nother's neck hung one of the Wyvern disks.", "By Shann's side the wolverines were moving restlessly. Since Taggi's\nattack on the Throg neither beast would venture near any site where they" ], [ "\"Taggi and Togi?\"", "The next bead-room gave him what he wanted. Below him Taggi and Togi\npaced back and forth. They had already torn to bits the sleeping mat", "delight the attraction was mutual. Alone to Taggi and Togi he was a\nperson, an important person. Those teeth, which could tear flesh into", "Taggi burst out of the grass, approaching the hole with purpose. And\nTogi was right at his heels. Both of them stared into that opening,", "As Shann moved, Taggi and Togi came to life also. They had gone to earth\nwith speed, and the man was sure that both beasts had sensed danger. Not", "Taggi and Togi, trailing leashes, galloped out of nowhere to hurl\nthemselves at him in uproarious welcome. And Thorvald must have heard", "Not only did he now lie alone, but he was possessed by the feeling that\nhe had not been deserted only momentarily, that Taggi, Togi and the", "\"We'll have to feed Taggi and Togi,\" he broke the silence abruptly. \"If\nwe don't, they'll be into the river and off on their own.\"", "He spoke. And Taggi and Togi answered with eager whines. The mist was\nwithdrawing more slowly than it had come. Here and there things lay very\nstill on the ground.\n\n\"Lantee!\"", "Taggi and Togi when those two emerged from the underbrush obviously well\nfed and contented after their early morning activity.", "Taggi had only been waiting for a good chance to do battle. He grabbed\none of those legs, worried it, and then leaped to tear at the under", "the resources of a damaged scout at his command. But he did have Taggi,\nTogi, and his own brain. Since he was fated to permanent exile on", "Taggi gave a last reluctant growl at the hound, to be answered by one of\nits ear-torturing howls, and then trotted off, Togi tagging behind.", "Taggi made a warning sound deep in the throat. Shann tossed handfuls of\nsand over the dying fire. He had only time to fling himself face-down,", "Shann thought back; his memories of what had occurred before that battle\nwere none too clear. But, yes, he had wished Taggi and Togi present at\nthat moment to distract the enraged beast.", "center it on him. The Throg was hunched over and perhaps to Taggi\npresented the outline of some four-footed creature to be hunted. For the", "whistle with dry lips. Togi was still busy with the kill, but Taggi lay\nwhere that murderous tail had thrown him.", "body serving as a cork to fill the exit hole. Taggi had been waiting\nonly for such a chance. He sprang, claws ready. And Togi went in after\nher mate to share the battle.", "unless he actually sighted a Throg patrol splashing after him he would\nwait until he made sure of the others' fate. Both Taggi and Togi were as", "\"Taggi?\" He called again gently, striving to bring that heavy head up on\nhis knee.\n\n\"The furred one is not dead.\"" ], [ "but their portion of Warlock was plunged abruptly into darkness. The\nwolverines crowded into their small haven, whining deep in their\nthroats. Shann ran his hands along their furred bodies, trying to give", "The Warlockian who had given him the bowl was the one who struck it on\nthe bottom, causing a rain of splinters. To Shann's astonishment, mixed", "There was a current here, a swiftly running one. Shann remembered the\none which had carried him into that cavern in which the Warlockians had", "Shann was startled. For the first time he realized that he had fronted\nthe greatest native menace they had discovered on Warlock with the more", "wild as the ones reported by the first scout on Warlock. Shann grinned\nwryly now at the short period of childish hope and half-confidence that", "\"Look!\" The fingers still rested between his eyebrows, but with her\nother hand the Warlockian was pointing up to the dome of the cavern.", "The youngest Warlockian took the bowl from the elder who held it, stood\nfor a long moment with it resting between her palms, fixing Shann with", "Shann went in. With one hand he gripped the edge of that collar--its\nserrations tearing his flesh--and at the same time he drove his knife", "In one lithe, flowing movement the alien arose. Fully erect, the\nWarlockian had a frail appearance. Shann, for his breed, was not tall.", "fought Shann in the lagoon. The Survey officer must have been under the\ncontrol of the Warlockians then. Quickly he gave the older man his", "witchery of Warlock. Or had Shann himself been led to recreate both the\nman and the circumstances of their first meeting with fear as a weapon", "That was why Garth Thorvald's act of the night before had made Shann\nbrave the unknown darkness of Warlock alone when he had discovered that", "The cave behind the nose hole narrowed quickly into a cleft, a narrow\ncleft which pierced into the bowl of the skull. Shann proceeded with", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "His shoulder met solid stone, and having rubbed the sand from his eyes,\nShann realized he was in a pocket in the cliff walls. Well overhead he", "And so Shann Lantee, most menial of the Terrans attached to the camp on\nthe planet Warlock, was left alone and weaponless in the strange,", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Taggi made a warning sound deep in the throat. Shann tossed handfuls of\nsand over the dying fire. He had only time to fling himself face-down,", "Shann clasped his hands about his knees to still the trembling of his\nbody, and eyed them back with all the defiance he could muster. Nor did" ], [ "The sea thing whipped around, undecided between two possible victims.\nShann had his knife free, was on his feet, his eyes on the beast's,\nknowing that he had appointed himself dragon slayer for no good reason.", "earth with her own poundage while the sea creature fought to dislodge\nher. Shann, his eyes watering from the sand, but able to see, watched", "\"The sea....\" Shann glanced with new interest at the green water surging\nin wavelets along the edge of the fiord.\n\n\"Just so, the sea!\"", "plainly bound for the sea gate to the southwest. Shann was not a\npowerful swimmer. His first impetus gave him a good start, but after", "own superiority. He did not know how he knew, but Shann was certain that\nthe creature out of the sea was still entirely confident, that it made\nno fight because it did not conceive of any possible danger from him.", "Shann swallowed a mouthful of the water lapping against his chin. The\ntaste was brackish, but not entirely salt, and though it stung his lips,\nthe liquid relieved a measure of his thirst.", "Shann, watching to see if the reptile would surface again, sighted\nanother object, a rounded shape floating on the sea, bobbing lightly as\nhad their river raft.\n\n\"Look!\"", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann swam wearily to shore where the wolverines waited, unable yet to\nmake sense of that attack in the lagoon. What had happened to Thorvald?", "But as moments passed and the Throg did not move in to make an easy\nkill, Shann collected his wits. Only one shot! Was the beetle injured,", "Steadying his head with both hands, Shann turned slowly, to survey what\nmight lie at their backs. The water, pouring by on either side,", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "Shann whirled, ran to the shell he had the night before pulled from the\nwater and stowed in safety. Its rounded dome was dulled where it had", "When Shann protested with some heat, the other countered: \"Didn't you\never hear of fish, Lantee? After a storm such as last night's, we ought\nto discover good pickings along the shore.\"", "Blood spurted up, his own blood mingled with that of the monster. Only\nTogi's riding of the tail prevented Shann's being beaten to death. The", "Shann leaped down the outer slope to the beach, skidding the last few\nfeet, saving himself from going headfirst into the water only by a\npainful wrench of his body.", "Shann put fingers to his mouth and whistled. The head turned, black\nbutton eyes regarded him, short legs began to churn water. To his\ngratification the swimmer was obeying his summons.", "occupied and prevent its escape. Shann put another piece of his raft to\nwork as a shovel, throwing up a shower of sand and gravel while sweat", "Thorvald headed back, herding the thing before him. And when he climbed\nout on the rock, Shann was pulling up his trophy. They flipped the find" ], [ "\"Lantee.\" Shann drew a deep breath. He was so conscious of those claws\non his shoulders, of what would follow.", "\"Lantee!\" A hand jerked him back, broke that compulsion--and the dream.\nShann opened his eyes with difficulty, his lashes seemed glued to his\ncheeks.", "And so Shann Lantee, most menial of the Terrans attached to the camp on\nthe planet Warlock, was left alone and weaponless in the strange,", "place. That will to live which had made Shann Lantee fight innumerable\nbattles in the past was in command, bracing him with a stubborn\ndetermination.", "forward, his hands clawing for Shann's throat. He bore the younger man\ndown under him to the sand where Lantee found himself fighting\ndesperately for his life against a man who could only be mad.", "\"Shann....\" he began vocally, and then turned words into thoughts.\n\"Shann Lantee, Terran, man.\" He made his answer the same which had kept\nhim from succumbing to their complete domination.", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "When Shann protested with some heat, the other countered: \"Didn't you\never hear of fish, Lantee? After a storm such as last night's, we ought\nto discover good pickings along the shore.\"", "Desperately Shann held to one thing, his own sense of identity. He was\nShann Lantee, Terran breed, out of Tyr, of the Survey Service. Some part", "any Terran now was as far from the vicinity of those silent domes as he\ncould get. Shann's slight body was an asset as he wedged through the", "Shann crept. Someone expecting a man walking erect might be suitably\ndistracted by the arrival of a half-seen figure on all fours. He halted\nagain to listen.", "\"Lantee?\" The call came in a hoarse, demanding whisper.\n\n\"Here.\"\n\n\"Cut loose. We have to get out of here!\"", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann was alone. The mist, which had formed walls, enclosed him again.\nBut still there was a smarting brand across his shoulder. Shann drew", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "\"Name--Shann Lantee, man--yes.\" The other accepted those, \"Terran?\" That\nwas a question.\n\nDid these people have any notion of space travel? Could they understand\nthe concept of another world holding intelligent beings?", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "night? Why was he left behind if the other had been moved away to\nprotect some secret? Was it that Shann himself was wanted here, wanted\nso much that when he at last found a means of escape he was set to", "the highly technical installations in this dome were just that to Shann\nLantee--complete mysteries. He had not the slightest idea of how to\nactivate the machines, let alone broadcast in the proper code.", "hills. Of all the men on the Survey team, Shann Lantee had been the\nleast important. The dirty, tedious clean-up jobs, the dull routines" ], [ "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann crept. Someone expecting a man walking erect might be suitably\ndistracted by the arrival of a half-seen figure on all fours. He halted\nagain to listen.", "night? Why was he left behind if the other had been moved away to\nprotect some secret? Was it that Shann himself was wanted here, wanted\nso much that when he at last found a means of escape he was set to", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Walking slowly, pausing to listen for the slightest sound which might\nherald the coming of a new illusion, Shann tried to guess which of his", "Shann tightened his belt. \"Just about what you are.\" He was still aloof,\ngiving no acknowledgment of difference in rank now. \"Running around in\nthis fog hunting the way out.\"", "Shann drew up the hood of his jacket and snapped the transparent face\nmask into place. He must get away--then find food, water, a hiding", "That was why Garth Thorvald's act of the night before had made Shann\nbrave the unknown darkness of Warlock alone when he had discovered that", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "Shann made himself as much of a burden as he could. At the best, he\ncould so delay the guards entrusted with his safekeeping; at the worst,", "path his own feet had already worn to the boat beach. As he went, Shann\ntried to counterfeit what he believed would be the gait of a man under\ncompulsion.", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "Shann squirmed. That was, of course, a very obvious supposition. He kept\na tight hold with his left hand, and with the other, he did some", "Now, with three of them at the digging, the brown hump was uncovered,\nand Shann pried down around its edge, trying to lever it up and over. To", "\"Yes.\" Shann had no desire to go into that.\n\n\"People out of your past life?\"\n\n\"Yes.\" Again he did not elaborate.", "Because there was nothing else to do, Shann walked on, his boots\npressing sand, rising from each step with a small sucking sound. Then,", "Shann gave a sudden start, aware his thoughts had made him careless, or\nhad she in some way led him into that bypath of memory for her own", "Shann whirled, ran to the shell he had the night before pulled from the\nwater and stowed in safety. Its rounded dome was dulled where it had", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "But apparently that feat was beyond even his notable teeth, and at\nlength he left it lying there in disgust while he returned to a cache\nfor more palatable fare. Shann went to examine more closely the" ], [ "The Throgs began to circle while beneath them the flock of clak-claks\nscreamed and dived at the slanting nose of the Terran ship. Then that", "Throgs had caught up with their hunter, and certainly they must have\ndone so by now, they either could not, or would not free it from the", "Throgs were warm-blooded, oxygen-breathing creatures.", "Throgs were predators, living on the loot they garnered. As yet, mankind\nhad not been able to discover whether they did indeed swarm from any", "\"But do the Throgs know that?\"\n\nThe implications, the possibilities, in that idea struck home to Shann.\nNow he began to understand what Thorvald might be planning.", "\"The supposition is that they can't. Only, concerning Throgs, all we\nknow is supposition. Anyway, they do know the routine for establishing a", "Two more Throgs entered the dome. They stalked to the far end of the\ntable which held the com equipment, and frequently pausing to consult a", "Throgs now--one answer.\" Thorvald looked back over the field where those\nbodies lay so still. \"We can kill Throgs. Maybe someday we can learn", "\"Ship's in range. Throgs here.\"", "\"The Throgs hit very early yesterday morning. They caught the rest in\ncamp. The wolverines had escaped from their cage, and I was out hunting\nthem....\" He told his story baldly.", "The Throgs surrounding Shann were firing at the fog, first with\nprecision, then raggedly, as their bolts did nothing to cut that opaque", "Roughly the figure was more humanoid than the Throgs. The upper limbs\nwere not too unlike Shann's arms, though the hands had four digits of", "alive. Which meant, Shann's thoughts began to make sense--sense which\nbrought apprehension--the Throgs probably intended to disable rather", "\"Can't you argue that the Throgs are males, too? Or aren't they?\"", "The Throgs might seem indestructible, but he had put an end to one,\naided by luck and a very rough weapon. With that to bolster his", "Throgs. So they had speeded up the process of declaring Warlock open.\nOnly Ragnar Thorvald had protested that decision up to the last and had", "\"Where?\" Did Thorvald know of some supply cache they could raid?\n\n\"From the Throgs,\" the other answered matter of factly.\n\n\"But they don't eat our kind of food....\"", "\"Throg work--_this_?\" Thorvald was openly scornful. \"Throgs have no\nconception of such art. You must have seen their metal plates--those are", "the Throgs. There were shapes barely to be discerned through the swirls;\nperhaps some were Throgs in flight. But certainly others were non-Throg", "Now Thorvald had gone into action. A Throg suddenly halted, struggled\nfrantically, and toppled over into the edge of a fire splotch, legs" ], [ "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "The hour was close to dusk and Shann glanced wistfully at promising\nshadows, though he had given up hope of rescue by now. If he could just\nget free of his guards, he could at least give the beetle-heads a good\nrun.", "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "\"What----?\" The one word came thickly, but Shann gave something close to a\nsob of relief as he caught the faint mutter. He squatted back on his", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "Shann went in. With one hand he gripped the edge of that collar--its\nserrations tearing his flesh--and at the same time he drove his knife", "Shann clasped his hands about his knees to still the trembling of his\nbody, and eyed them back with all the defiance he could muster. Nor did", "because he expected to see any rescuers break from cover there. And when\nhe did see a change, Shann thought his own sight was at fault.", "This time the call came not into his mind but out of the air. Shann made\nan effort at reply which was close to a croak.\n\n\"Over here!\"", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "his legs. One hand grated painfully against stone. Hardly knowing what\nhe did, but fighting for his life, Shann caught at that rock and drew", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "And when he met nothing menacing, Shann began to relax. His heart no\nlonger labored; he made no move to draw the stunner or knife. Where he", "Taggi had been knocked out, but now he was able to navigate again. He\npulled free from Shann's grip, lumbering across the sand to the kill.", "A slight quiver answered. Shann tried awkwardly to raise the animal's\nhead with his own hand. As far as he could see, there were no open\nwounds; but there might be broken bones, internal injuries he did not\nhave the skill to heal.", "A new shape in the fog was moving with purpose toward him. Thorvald\nstrode into the open, sighted Shann, and began to run.\n\n\"What did they----?\" he began.", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two" ], [ "Shann snarled, rolled over on his side. Thorvald, water dripping from\nhis rags--or rather steaming from them--his shaggy hair plastered to his\nskull, sat there.", "Thorvald had already stored their few provisions on board. And now Shann\nsteadied the craft against a rock which served them as a wharf, while he", "Thorvald. Shann pushed down on the bed of leaves he had heaped together.\nThe night was quiet. He could hear only the murmur of the sea, a lulling", "Getting to his feet as the raft bobbed under his shift of weight, Shann\nstudied the territory now about them. He could not match Thorvald's", "Shann studied him and knew that Thorvald was telling the truth. He could\nremember nothing of his departure in the outrigger, the way he had", "Shann sat down with a sigh he made no effort to suppress. He had a\nvision of Thorvald traveling southward, methodically erecting these huts", "Shann could see no reason for such a laborious process. If Thorvald did\nnot want to use his ax, that was no reason that Shann could not put his", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann stopped brushing the sand from the tough fabric above his knee.\nRagnar Thorvald ... He remembered back to the port landing apron on", "which kept them away from both ships. Thorvald went up the cliff, swung\ndown again, a supply bag slung over one shoulder. He stood watching as\nShann brought the animals in.", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "Shann shook his head. \"Just the skull mountain.\"\n\nThorvald looked as if he didn't quite believe that, but Shann's\nexpression must have been convincing, for he laughed shortly.", "of more value to Shann. He steadied his body against the wall with his\ngood hand and got to his feet. Thorvald watched him.", "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "advantage.\" He trotted down into the valley, Shann beside him without\nunderstanding in the least, but aware that Thorvald did have some plan.", "uniform, or even the man. How Ragnar Thorvald had reached that\nparticular spot on Warlock or why, Shann could not know. But that he was\nthere, there was no denying.", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "As they hunted, Shann got a better idea of the land about the river. It\nwas sere, the vegetation dwindling except for some rough spikes of", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "\"Now where?\" Shann asked.\n\nWould he now learn the purpose driving Thorvald on to this coastland?\nCertainly such broken country afforded good hiding, but no better\nconcealment than the mountains of the interior." ], [ "Thorvald shook his head. \"Not on our records,\" he replied absently,\nstudying the dying creature with avid attention. \"Must have been driven\nin by the storm. This proves there is more in the sea then we knew!\"", "\"And so did I,\" Thorvald said bleakly. \"You saw your skull-mountain?\"\n\n\"I was climbing it when you awoke me,\" Shann returned unwillingly.", "Now Thorvald had gone into action. A Throg suddenly halted, struggled\nfrantically, and toppled over into the edge of a fire splotch, legs", "\"You're alive,\" Thorvald stated bleakly. \"Garth's dead. You ought to be\ndead too.\"", "Thorvald refolded the map and placed it in the case. Then he pulled at\nthe sealing of his blouse, groping in an inner secret pocket. He\nuncurled his fingers to display his treasure.", "clothing, plaster hair to the skull, leaving a brine slime across the\nskin. Yet Thorvald hunted no shelter, in spite of the promise in the", "\"Thorvald----\" Again his voice and his mind call were echoes of each\nother. But this time he had no answer. Had that demand meant Thorvald", "\"No,\" answer Shann slowly. \"No, I don't know why I used the knife. The\nstunner would have been more natural.\" Suddenly he shivered, and the\nface he turned to Thorvald was very sober.", "Thorvald flung himself forward, and together the men scrambled up on the\nraft. The mangled carcass plunged into the water, dislodged by their", "Thorvald, able now to make out the other's huddled form. Then he drew\nthe torch from the inner loop of his coat and pressed the lowest stud.", "\"Thorvald!\" He tried calling again. But that head, bright under the sun\ndid not turn; there was no answer. Shann tore at his clothes and kicked\noff his boots.", "Shann stared into the other's face. All the eager alertness of only a\nmoment earlier had been wiped away. Thorvald was no longer the man he", "\"Back with us again?\" Thorvald, one hand lifting a door panel, came in.\nHis ragged uniform was gone, and he wore only breeches of a sleek green\nmaterial and his own scuffed-and-battered boots.", "\"And to get a dumdum,\" Thorvald continued as if he were discussing a\npurely theoretical matter and not a threat of something worse than", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "\"That thing's dangerous! What did you do--what did it do to you?\"\n\nHis demand got through to a Thorvald who was himself again.", "Shann snarled, rolled over on his side. Thorvald, water dripping from\nhis rags--or rather steaming from them--his shaggy hair plastered to his\nskull, sat there.", "And Thorvald was regarding him now with frowning impatience. You were\nsupposed to humor delusions, weren't you? Only, could you surrender and", "Thorvald listened eagerly. When the story was finished, he rubbed his\nhands across his drawn face, smearing away the last of the sand. \"At", "\"Could be!\" Thorvald brought out the cloth-wrapped bone coin. \"I still\nhave it.\" But he made no move to pull off the bit of rag about it.\n\"Now\"--he gazed at the wall of green--\"which way?\"" ], [ "Getting to his feet as the raft bobbed under his shift of weight, Shann\nstudied the territory now about them. He could not match Thorvald's", "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "So it was that Shann made the discovery of a possible path consisting of\na ledge running toward the other end of the island, if this were an", "Thorvald had already stored their few provisions on board. And now Shann\nsteadied the craft against a rock which served them as a wharf, while he", "their joint equipment. Shann had used his knife on brush and small\ntrees, trying to put together some kind of a raft. But he had not been", "Use this frail thing to dare the trip to the islands? But Shann did not\nprotest. If the officer determined to try such a voyage, he would do it.\nAnd neither did the younger man doubt that he would accompany Thorvald.", "Utgard was a broken necklace, the outermost island-beads lost, the inner\nones more isolated by the rise in water, more forbidding. Shann let out\na startled hiss of breath.", "Thorvald had stopped paddling at last, because that paddle had to be put\nto another use. Had Shann not released his hold on the log and gone", "Shann sat down with a sigh he made no effort to suppress. He had a\nvision of Thorvald traveling southward, methodically erecting these huts", "which kept them away from both ships. Thorvald went up the cliff, swung\ndown again, a supply bag slung over one shoulder. He stood watching as\nShann brought the animals in.", "\"We've a ladder of sorts here,\" he reported. Without waiting for any\nanswer from Thorvald, Shann began to climb. The holds were so well", "Shann studied him and knew that Thorvald was telling the truth. He could\nremember nothing of his departure in the outrigger, the way he had", "\"It is definitely a created article,\" the Survey officer continued. \"And\nit was found on the beach of one of those sea islands.\"\n\n\"Throg?\" But Shann already knew the answer to that.", "occupied and prevent its escape. Shann put another piece of his raft to\nwork as a shovel, throwing up a shower of sand and gravel while sweat", "Thorvald headed back, herding the thing before him. And when he climbed\nout on the rock, Shann was pulling up his trophy. They flipped the find", "Shann saw the canoe again, beyond the reef, heading on out along the\nisland chain, not back to shore as he had expected. Thorvald was still", "Thorvald. Shann pushed down on the bed of leaves he had heaped together.\nThe night was quiet. He could hear only the murmur of the sea, a lulling", "Shann could see no reason for such a laborious process. If Thorvald did\nnot want to use his ax, that was no reason that Shann could not put his", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "Shann snarled, rolled over on his side. Thorvald, water dripping from\nhis rags--or rather steaming from them--his shaggy hair plastered to his\nskull, sat there." ], [ "back, catching Shann's hand and knife together in a trap. The Terran was\njerked from his feet, and flung to one side with the force of the\nbeast's reaction.", "The captive no longer struggled, but sat quietly in the tangle of the\nsnare Shann had set, watching the Terran steadily as if there were no", "The thing squalled. Ropes beat, growing taut. The wolverines backed from\njaws which snapped fruitlessly. To Shann's relief the Terran animals", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "Shann sat down. He was very hungry, for that adventure in the lagoon had\nsapped his strength. And he was a prisoner along with the wolverines, a", "It was when Shann knelt by the spring pool to wash that he caught the\nclamor of the clak-claks. He had seen or heard nothing of the flyers", "trap. Shann dozed again, untroubled by any dreams, to awake hearing the\nshrieks of clak-claks. But when he studied the sky he was able to sight", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "The captive continued to watch as Shann sheathed his blade and then\nheld out his hand. Yellow eyes, never blinking since his initial", "Shann thought \"danger.\" Then he raised his hand, and the wolverine\nshuffled off, heading north. The man followed.", "his legs. One hand grated painfully against stone. Hardly knowing what\nhe did, but fighting for his life, Shann caught at that rock and drew", "Shann went in. With one hand he gripped the edge of that collar--its\nserrations tearing his flesh--and at the same time he drove his knife", "For the Throgs were being herded in from all sides--the handful who had\ncome from the river, the others who had brought Shann there. And the", "Shann caught hold of Taggi's scruff, pulling him along. The wolverine\ntwisted and whined, but he did not fight for freedom as he would have", "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "A slight quiver answered. Shann tried awkwardly to raise the animal's\nhead with his own hand. As far as he could see, there were no open\nwounds; but there might be broken bones, internal injuries he did not\nhave the skill to heal.", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "Shann thrust with the spear, feeling the knife point go home so deeply\nthat he could not pull his improvised weapon free. A limb snapped claws", "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his" ], [ "For the first time Thorvald's lips curved in a shadow smile which was\nneither joyous nor warming. \"A native raid on an invaders' camp. What\ncould be more natural? And we'd better make it soon.\"", "\"There is going to be a native race,\" Thorvald affirmed.", "\"Native weapons,\" Thorvald countered with his usual snap. He went back\nto the beach and crawled about there, choosing and rejecting stones\npicked out of the gravel.", "Thorvald got up, balancing on feet planted a little apart, looking to\nthe faded expanse of the waste spreading from the river cut. He stared\nat the mountains before he squatted down to fumble with the lock of the\nmap case.", "\"Throg work--_this_?\" Thorvald was openly scornful. \"Throgs have no\nconception of such art. You must have seen their metal plates--those are", "Thorvald shook his head. \"Not on our records,\" he replied absently,\nstudying the dying creature with avid attention. \"Must have been driven\nin by the storm. This proves there is more in the sea then we knew!\"", "Thorvald called impatiently, and Shann reached for the torch to hold it\nfor the officer. Then Thorvald crawled out; he, too, looked around in\ndull surprise.", "\"Thorvald----\" Again his voice and his mind call were echoes of each\nother. But this time he had no answer. Had that demand meant Thorvald", "What was so important about this island that Thorvald _had_ to make a\nlanding here? The officer's stories of a native race which they might", "\"This is a water wood,\" Thorvald said, breaking the silence for the\nfirst time since they had left the wrecks.", "Thorvald thrust with his pole. \"Skull?\" he repeated, a little absently,\nas he so often did in answer to Shann's questions unless they dealt with\nsome currently important matter.", "\"And so did I,\" Thorvald said bleakly. \"You saw your skull-mountain?\"\n\n\"I was climbing it when you awoke me,\" Shann returned unwillingly.", "There was an answering grin on Thorvald's lips. \"As good a guide as any\nwe're likely to find here. We'll do it.\" He pulled away the twist of", "And Thorvald was regarding him now with frowning impatience. You were\nsupposed to humor delusions, weren't you? Only, could you surrender and", "themselves to the rocks with the eagerness of passengers deserting a\nsinking ship for certain rescue. Thorvald settled the map case more\nsecurely between his arm and side before he took the same leap. When", "Thorvald nodded. \"Masters of illusion,\" he murmured.\n\n\"Mistresses,\" Shann corrected. \"This place is run by a gang of pretty\nsmart witches.\"", "\"An old form,\" Thorvald replied, \"native to a primitive race on Terra.\nCertainly the beetle-heads haven't come across its like before.\"", "\"Hunting.\" Thorvald's answer was clipped. He was gathering a handful of\nsticks from the back of their lean-to, where the protection of their own", "\"Thorvald!\" He tried calling again. But that head, bright under the sun\ndid not turn; there was no answer. Shann tore at his clothes and kicked\noff his boots.", "\"Thorvald----!\"" ], [ "Shann turned his head and surveyed the Wyvern awaiting them with a\nconcentration which was close to the rudeness of an outright stare, a", "Wyverns. Shann liked the sound of that word; to his mind it well fitted\nthe Warlockian witches. And the one they were watching in action", "Shann had no idea how much time he had passed among the Wyverns; the\ntransport with its load of unsuspecting settlers might already be in the", "Someone else was crossing that strip of beach. Passing the Wyvern as if\nhe did not see them, Thorvald came directly to Shann. A few seconds", "enough so he could sight the Wyvern who had been leaning over Thorvald's\nshoulder centering her weird weapon on him. Making a great effort, Shann", "Embassy post. Shann digested that. Yes, of course, Thorvald, because of\nhis close contact with the Wyverns, would be left here for the present\nto act as liaison officer-in-charge.", "intelligence to direct it into deadly action. And facing it, seemingly\nunarmed and defenseless, were the slender, fragile Wyverns.", "The Wyvern who had led the beast ashore did not move. But one of her\ncompanions swung up a hand, as if negligently waving the monster to a", "The Wyvern must have caught the sense of that vocal protest, for her\ncommunication touched them both. \"We cannot deal with that one as his", "Shann strove to pick up the thread which could link them. Was the\ndistance between this camp and the seagirt city of the Wyverns too", "Thorvald smiled grimly. The ghostly light was fading as the fog\nretreated, but Shann could see well enough to note that around the\nother's neck hung one of the Wyvern disks.", "touch, somewhere, Thorvald with his disk--or perhaps the Wyvern who had\ntalked of Trav and shared dreams. Shann focused his thoughts on the", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "This time the call came not into his mind but out of the air. Shann made\nan effort at reply which was close to a croak.\n\n\"Over here!\"", "his head so gray eyes met golden ones. The web of communication which\nhad held all three of them snapped. Thorvald and the Wyvern were linked\nin a tight circuit which excluded Shann.", "\"The blast got one of them,\" Shann pointed out.\n\n\"Yes, they'd nicked the booster rocket; she wouldn't climb again. But\nthey'll be back here to pick over the remains.\"", "\"Get to it!\" Shann's voice scaled up. He was close to the ragged edge,\nand the last push toward the breaking point had not been the Throg", "something. And Shann was sure that thick vegetation could be found only\non the mainland. Not only was Thorvald ashore, but there were Wyverns" ], [ "\"Yes.\" Shann had no desire to go into that.\n\n\"People out of your past life?\"\n\n\"Yes.\" Again he did not elaborate.", "Shann thought \"danger.\" Then he raised his hand, and the wolverine\nshuffled off, heading north. The man followed.", "Shann gave a sudden start, aware his thoughts had made him careless, or\nhad she in some way led him into that bypath of memory for her own", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "Now, with three of them at the digging, the brown hump was uncovered,\nand Shann pried down around its edge, trying to lever it up and over. To", "\"Faced to the sea and said 'that way,'\" Shann replied promptly.\n\n\"And why did you move in to stop me?\"", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "A shadow swung across the hillside. Shann's shoulders hunched, and he\ncowered again. That terror he had known on the ledge was back in full", "His bearer turned away from the stream cut, carrying Shann out into that\nfield which had first served the Terrans as a landing strip, then", "any Terran now was as far from the vicinity of those silent domes as he\ncould get. Shann's slight body was an asset as he wedged through the", "By Shann's side the wolverines were moving restlessly. Since Taggi's\nattack on the Throg neither beast would venture near any site where they", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "by the sun. Shann studied that possible path and distrusted his own\npowers to take it without proper equipment or supplies. He must turn\neither north or south, though he would then have to abandon a sure water", "Shann squirmed. That was, of course, a very obvious supposition. He kept\na tight hold with his left hand, and with the other, he did some", "A new shape in the fog was moving with purpose toward him. Thorvald\nstrode into the open, sighted Shann, and began to run.\n\n\"What did they----?\" he began.", "Shann wiped his eyes, pausing in his eternal push-push, to look at the\nrocks which they were passing in threatening proximity. For the slash", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "Shann sat down in the sand, hardly daring to breathe. Trav--again! The\nwonder of this never-to-be-hoped-for return filled him with a surge of" ], [ "Now Thorvald had gone into action. A Throg suddenly halted, struggled\nfrantically, and toppled over into the edge of a fire splotch, legs", "The Throgs might seem indestructible, but he had put an end to one,\naided by luck and a very rough weapon. With that to bolster his", "Thorvald flung himself forward, and together the men scrambled up on the\nraft. The mangled carcass plunged into the water, dislodged by their", "Shann snarled, rolled over on his side. Thorvald, water dripping from\nhis rags--or rather steaming from them--his shaggy hair plastered to his\nskull, sat there.", "Throgs now--one answer.\" Thorvald looked back over the field where those\nbodies lay so still. \"We can kill Throgs. Maybe someday we can learn", "A rock hurtled from the heights above, striking with deadly accuracy on\nthe domed, hairless head of the Throg. His armored body crashed forward,", "Spurred by that, he won free. But he could not turn his back on the\nwounded Throg, keeping rather a sidewise retreat.", "Thorvald stopped him with an order: \"Use a stone on that, the way I\ndid.\"", "But as moments passed and the Throg did not move in to make an easy\nkill, Shann collected his wits. Only one shot! Was the beetle injured,", "\"You're alive,\" Thorvald stated bleakly. \"Garth's dead. You ought to be\ndead too.\"", "\"Where?\" Did Thorvald know of some supply cache they could raid?\n\n\"From the Throgs,\" the other answered matter of factly.\n\n\"But they don't eat our kind of food....\"", "Shann could see no reason for such a laborious process. If Thorvald did\nnot want to use his ax, that was no reason that Shann could not put his", "Thorvald shook his head. \"Not on our records,\" he replied absently,\nstudying the dying creature with avid attention. \"Must have been driven\nin by the storm. This proves there is more in the sea then we knew!\"", "Thorvald had stopped paddling at last, because that paddle had to be put\nto another use. Had Shann not released his hold on the log and gone", "Throgs. So they had speeded up the process of declaring Warlock open.\nOnly Ragnar Thorvald had protested that decision up to the last and had", "Shann stopped brushing the sand from the tough fabric above his knee.\nRagnar Thorvald ... He remembered back to the port landing apron on", "That bolt, which would have shocked a mammal into insensibility, only\nslowed the Throg. Shann rolled again, gaining a temporary cover behind", "For a long moment the Throg made no move; his dazed wits must have been\nworking at very slow speed. Then the alien heaved up his body to stand", "\"Native weapons,\" Thorvald countered with his usual snap. He went back\nto the beach and crawled about there, choosing and rejecting stones\npicked out of the gravel.", "\"Could be!\" Thorvald brought out the cloth-wrapped bone coin. \"I still\nhave it.\" But he made no move to pull off the bit of rag about it.\n\"Now\"--he gazed at the wall of green--\"which way?\"" ], [ "by the sun. Shann studied that possible path and distrusted his own\npowers to take it without proper equipment or supplies. He must turn\neither north or south, though he would then have to abandon a sure water", "which kept them away from both ships. Thorvald went up the cliff, swung\ndown again, a supply bag slung over one shoulder. He stood watching as\nShann brought the animals in.", "So it was that Shann made the discovery of a possible path consisting of\na ledge running toward the other end of the island, if this were an", "Thorvald glanced up from one of the tough, thin sheets of map skin,\nagain as if he had been drawn back from some distance. His eyes moved\nfrom Shann to the unpromising shore.", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "unequal steps, drawing them away from the water. At long last they came\nto the end of that path. Shann leaned back against a convenient spur of\nrock.", "Getting to his feet as the raft bobbed under his shift of weight, Shann\nstudied the territory now about them. He could not match Thorvald's", "advantage.\" He trotted down into the valley, Shann beside him without\nunderstanding in the least, but aware that Thorvald did have some plan.", "As they hunted, Shann got a better idea of the land about the river. It\nwas sere, the vegetation dwindling except for some rough spikes of", "But Shann had already caught that distant rumble of sound. It was\nsteady, beating like some giant drum. Certainly it did not herald a\nThrog ship in flight and it came from ahead, not from their back trail.", "Shann hesitated. He was driven by the urge to put as much distance\nbetween him and the landing Throg ship as he could. But to arouse the", "Shann sat down with a sigh he made no effort to suppress. He had a\nvision of Thorvald traveling southward, methodically erecting these huts", "Shann studied him and knew that Thorvald was telling the truth. He could\nremember nothing of his departure in the outrigger, the way he had", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "The path he followed ended abruptly in a cliff drop, and Shann made a\nface at the odor rising from below, even though that scent meant he", "With a muffled cry, Thorvald started in pursuit, Shann running beside\nhim. They were in a tunnel of the fog now, and the pace set by the", "Thorvald flitted away, seeking his own post to the west. Shann was still\nwaiting for the other's signal when there arose from the camp a sound to", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "Thorvald had already stored their few provisions on board. And now Shann\nsteadied the craft against a rock which served them as a wharf, while he" ], [ "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "Shann saw the canoe again, beyond the reef, heading on out along the\nisland chain, not back to shore as he had expected. Thorvald was still", "their joint equipment. Shann had used his knife on brush and small\ntrees, trying to put together some kind of a raft. But he had not been", "Thorvald had stopped paddling at last, because that paddle had to be put\nto another use. Had Shann not released his hold on the log and gone", "Shann studied him and knew that Thorvald was telling the truth. He could\nremember nothing of his departure in the outrigger, the way he had", "Shann could see no reason for such a laborious process. If Thorvald did\nnot want to use his ax, that was no reason that Shann could not put his", "Thorvald had already stored their few provisions on board. And now Shann\nsteadied the craft against a rock which served them as a wharf, while he", "Getting to his feet as the raft bobbed under his shift of weight, Shann\nstudied the territory now about them. He could not match Thorvald's", "Shann scooped out a small pit just before their hut and set about the\nmaking of a pocket-sized fire. He was hungry and looked longingly now", "of the shore. Once he had his new canoe ready he would try to make the\ntrip back in the early morning while the mists were still on the sea.\nThat should give him cover against any Throg flight.", "Shann sat down with a sigh he made no effort to suppress. He had a\nvision of Thorvald traveling southward, methodically erecting these huts", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Thorvald. Shann pushed down on the bed of leaves he had heaped together.\nThe night was quiet. He could hear only the murmur of the sea, a lulling", "occupied and prevent its escape. Shann put another piece of his raft to\nwork as a shovel, throwing up a shower of sand and gravel while sweat", "which kept them away from both ships. Thorvald went up the cliff, swung\ndown again, a supply bag slung over one shoulder. He stood watching as\nShann brought the animals in.", "before they had left the raft. And instead of allowing both beasts to\nfeast at leisure, Shann had lashed the carcass to the shaky platform of", "Thorvald moved. The raft tilted and the wolverines became growly. Shann\nsat down, one hand out to the officer's shoulder in warning. Feeling", "\"Now where?\" Shann asked.\n\nWould he now learn the purpose driving Thorvald on to this coastland?\nCertainly such broken country afforded good hiding, but no better\nconcealment than the mountains of the interior.", "Use this frail thing to dare the trip to the islands? But Shann did not\nprotest. If the officer determined to try such a voyage, he would do it.\nAnd neither did the younger man doubt that he would accompany Thorvald." ], [ "Shann scooped out a small pit just before their hut and set about the\nmaking of a pocket-sized fire. He was hungry and looked longingly now", "It was when Shann knelt by the spring pool to wash that he caught the\nclamor of the clak-claks. He had seen or heard nothing of the flyers", "trap. Shann dozed again, untroubled by any dreams, to awake hearing the\nshrieks of clak-claks. But when he studied the sky he was able to sight", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "Shann sat down. He was very hungry, for that adventure in the lagoon had\nsapped his strength. And he was a prisoner along with the wolverines, a", "Shann's attention was caught by a piece of the drift. He twisted the\nlength free and had his first weapon of his own manufacture, a club.\nUsing it to hold back a low sweeping branch, he followed the wolverines.", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "Shann began his own excavation, a trough to lead from the waterline to\nthe pit occupied by the obstinate shell. Of course the thing living in", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "back, catching Shann's hand and knife together in a trap. The Terran was\njerked from his feet, and flung to one side with the force of the\nbeast's reaction.", "The captive no longer struggled, but sat quietly in the tangle of the\nsnare Shann had set, watching the Terran steadily as if there were no", "occupied and prevent its escape. Shann put another piece of his raft to\nwork as a shovel, throwing up a shower of sand and gravel while sweat", "\"There's those fish we found them eating back by the mountain stream,\"\nShann said, recalling an incident of a few days earlier. \"Rocks here,\ntoo, like those the fish were hiding under. Maybe we can locate some of\nthem here.\"", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "his legs. One hand grated painfully against stone. Hardly knowing what\nhe did, but fighting for his life, Shann caught at that rock and drew", "Shann stood where he was, listening intently. Yes, there was a splashing\nsound from upstream. Whoever followed his own recent trail was taking no", "When Shann protested with some heat, the other countered: \"Didn't you\never hear of fish, Lantee? After a storm such as last night's, we ought\nto discover good pickings along the shore.\"", "Thorvald headed back, herding the thing before him. And when he climbed\nout on the rock, Shann was pulling up his trophy. They flipped the find", "Shann had begun contact by cleaning their cages; he ended captivated by\nthese miniature bears with long bushy tails. And to his unbounded", "Shann squirmed. That was, of course, a very obvious supposition. He kept\na tight hold with his left hand, and with the other, he did some" ], [ "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "This time the call came not into his mind but out of the air. Shann made\nan effort at reply which was close to a croak.\n\n\"Over here!\"", "\"It would appear that he does.\" The agreement was measured, and Shann\nknew that he was meant to \"overhear\" that.", "\"Yes.\" Shann had no desire to go into that.\n\n\"People out of your past life?\"\n\n\"Yes.\" Again he did not elaborate.", "For a moment Shann was not aware that those words had formed in his\nmind, had not been heard by his ears. He looked up, eyes blazing at the", "\"Get to it!\" Shann's voice scaled up. He was close to the ragged edge,\nand the last push toward the breaking point had not been the Throg", "Shann was alone. The mist, which had formed walls, enclosed him again.\nBut still there was a smarting brand across his shoulder. Shann drew", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Shann grinned crookedly, without humor. \"It seems that I'm elected,\" he\nsaid as much to himself as to Thorvald. \"But what do I do with this\nother dreamer?\"", "\"What----?\" The one word came thickly, but Shann gave something close to a\nsob of relief as he caught the faint mutter. He squatted back on his", "Shann did not take fire at that rather delicate estimate of his own lack\nof preparation for the carrying out of diplomatic negotiations with the\nenemy; he knew it was true. But there was one thing he could try--if the\nWyverns permitted.", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann gave a sudden start, aware his thoughts had made him careless, or\nhad she in some way led him into that bypath of memory for her own", "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his", "\"Shann....\" he began vocally, and then turned words into thoughts.\n\"Shann Lantee, Terran, man.\" He made his answer the same which had kept\nhim from succumbing to their complete domination.", "his hands. First, the enemy was entirely confident of success in this\nventure. No being who was able to control Shann as completely and ably\nas had been done the night before would credit any prey with the power", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant" ], [ "\"Yes.\" Shann had no desire to go into that.\n\n\"People out of your past life?\"\n\n\"Yes.\" Again he did not elaborate.", "Shann did not take fire at that rather delicate estimate of his own lack\nof preparation for the carrying out of diplomatic negotiations with the\nenemy; he knew it was true. But there was one thing he could try--if the\nWyverns permitted.", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann was alone. The mist, which had formed walls, enclosed him again.\nBut still there was a smarting brand across his shoulder. Shann drew", "Shann stared at her, startled, not so much by what she said as the human\nshading of those words in his mind. Or had that also been illusion?", "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "\"It would appear that he does.\" The agreement was measured, and Shann\nknew that he was meant to \"overhear\" that.", "Shann laughed, and the sound was ugly. That was one thing he didn't have\nto worry about any longer. There would be no other assignments for him,", "Shann made himself as much of a burden as he could. At the best, he\ncould so delay the guards entrusted with his safekeeping; at the worst,", "Shann edged around to face west. There was light enough in the sky to\nsight tall black pyramids waiting. They had to reach those distant", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "\"Get to it!\" Shann's voice scaled up. He was close to the ragged edge,\nand the last push toward the breaking point had not been the Throg", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "Desperately Shann held to one thing, his own sense of identity. He was\nShann Lantee, Terran breed, out of Tyr, of the Survey Service. Some part", "For a moment Shann was not aware that those words had formed in his\nmind, had not been heard by his ears. He looked up, eyes blazing at the", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "\"Shann....\" he began vocally, and then turned words into thoughts.\n\"Shann Lantee, Terran, man.\" He made his answer the same which had kept\nhim from succumbing to their complete domination.", "The process of butchery was a bloody, even beastly job, and Shann was\nshaken before it was complete. But he kept at his labors, determined to" ], [ "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his", "Shann made himself as much of a burden as he could. At the best, he\ncould so delay the guards entrusted with his safekeeping; at the worst,", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "his hands. First, the enemy was entirely confident of success in this\nventure. No being who was able to control Shann as completely and ably\nas had been done the night before would credit any prey with the power", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "Shann did not take fire at that rather delicate estimate of his own lack\nof preparation for the carrying out of diplomatic negotiations with the\nenemy; he knew it was true. But there was one thing he could try--if the\nWyverns permitted.", "testified that they had landed. Shann, his sore body stiff with tension,\nwaited for the next move on the part of his captors.", "Shann clasped his hands about his knees to still the trembling of his\nbody, and eyed them back with all the defiance he could muster. Nor did", "Shann went in. With one hand he gripped the edge of that collar--its\nserrations tearing his flesh--and at the same time he drove his knife", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "Shann was alone. The mist, which had formed walls, enclosed him again.\nBut still there was a smarting brand across his shoulder. Shann drew", "The captive continued to watch as Shann sheathed his blade and then\nheld out his hand. Yellow eyes, never blinking since his initial", "Put that way, his action did make sense. But Shann regretted the loss of\nan arm so superior to their own weapons. Now they could not loot the", "Shann sat down. He was very hungry, for that adventure in the lagoon had\nsapped his strength. And he was a prisoner along with the wolverines, a", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "Shann was startled. For the first time he realized that he had fronted\nthe greatest native menace they had discovered on Warlock with the more", "The hour was close to dusk and Shann glanced wistfully at promising\nshadows, though he had given up hope of rescue by now. If he could just\nget free of his guards, he could at least give the beetle-heads a good\nrun.", "It was when Shann knelt by the spring pool to wash that he caught the\nclamor of the clak-claks. He had seen or heard nothing of the flyers" ], [ "\"But do the Throgs know that?\"\n\nThe implications, the possibilities, in that idea struck home to Shann.\nNow he began to understand what Thorvald might be planning.", "alive. Which meant, Shann's thoughts began to make sense--sense which\nbrought apprehension--the Throgs probably intended to disable rather", "For the Throgs were being herded in from all sides--the handful who had\ncome from the river, the others who had brought Shann there. And the", "The Throgs surrounding Shann were firing at the fog, first with\nprecision, then raggedly, as their bolts did nothing to cut that opaque", "Shann licked his blistered lips. He was sure that the Throg officer\nmeant exactly what he said in that last grisly threat. Only, would", "turn against the Throgs to their own advantage was thin, very thin\nindeed. Especially now, as Shann weighed an unsupported theory against\nthat ache in his shoulders, the possibility of being marooned on the", "\"Must have thrown the sticks for me again,\" Shann commented.\n\n\"Well, they've definitely picked you to smoke out the Throg, and they\ncan't be talked into changing their minds about that.\"", "shriveled under a vicious concentration of cross bolts. Shann gasped. He\ncertainly had no liking for Throgs, but this execution carried overtones", "\"Told you that,\" Shann said impatiently. \"But what brought that fog and\ngot the Throgs?\"", "There! That _had_ been a sound, and the smell _was_ stronger. The Throg\nmust be coming to him. Again Shann whistled, holding in his mind his", "Roughly the figure was more humanoid than the Throgs. The upper limbs\nwere not too unlike Shann's arms, though the hands had four digits of", "That bolt, which would have shocked a mammal into insensibility, only\nslowed the Throg. Shann rolled again, gaining a temporary cover behind", "Fear made a thicker fog about him than the green mist of the illusion.\nOnly this was no illusion. Shann stared at the Throg officer with sick", "The Throg stood away from the wall, limped out, heading for Shann, or\nperhaps only the cleft in which he stood. Swinging the stunner awkwardly", "\"You Throg meat!\"\n\nFor a moment Shann wondered if the alien meant that statement literally.\nOr was it a conventional expression for a prisoner among their land.\n\n\"Do as told!\"", "But as moments passed and the Throg did not move in to make an easy\nkill, Shann collected his wits. Only one shot! Was the beetle injured,", "Throgs had caught up with their hunter, and certainly they must have\ndone so by now, they either could not, or would not free it from the", "Shann tensed. The stories of the effects of the Throg's dumdum weapon\nwere anything but pretty.", "\"Must be an important Throg,\" Shann deduced. \"They could have an officer\nof the beetle-heads under wraps over there. Could we use him to bargain\nwith the rest?\"", "There was a sound from the doorway of the dome. Shann opened his eyes.\nThere were Throgs entering, one to go to the guide beam, two heading for" ], [ "Shann was top man when a last spurt of effort enabled him to draw\nhimself out into the open, his hands raw, his nails broken and torn. He\nsat there, stupefied with his own weariness, to stare about.", "Shann paused to scrape a film of mud from his lips and chin. Then he\nmade the last pull, bracing his slight body against the push of the wind", "Shann, avoiding by a hand's breadth a snap of jaws with power to crush\nhis leg into bone powder and mangled flesh, cuffed Togi across her nose", "But Shann only heard of that later. He slept, so deep and dreamlessly\nthat when he roused he was momentarily dazed.", "Shann clasped his hands about his knees to still the trembling of his\nbody, and eyed them back with all the defiance he could muster. Nor did", "Shann used a trick learned on the Dumps, and his opponent doubled up\nwith a gasp of agony to let the younger man break free. He planted a", "\"What----?\" The one word came thickly, but Shann gave something close to a\nsob of relief as he caught the faint mutter. He squatted back on his", "Shann went in. With one hand he gripped the edge of that collar--its\nserrations tearing his flesh--and at the same time he drove his knife", "Though he suffered a slash across the back of one hand, delivered by the\nover-excited Taggi, in the end Shann was able to get both animals away", "Shann did not realize what had happened to him since that shock of\nruthless attack. From early childhood, when he had been thrown on his", "Shann could not be sure. He began to count aloud, slowly, as they had\nagreed. When he reached one hundred he would begin his retreat; on two", "But as moments passed and the Throg did not move in to make an easy\nkill, Shann collected his wits. Only one shot! Was the beetle injured,", "his legs. One hand grated painfully against stone. Hardly knowing what\nhe did, but fighting for his life, Shann caught at that rock and drew", "Taggi made a warning sound deep in the throat. Shann tossed handfuls of\nsand over the dying fire. He had only time to fling himself face-down,", "A slight quiver answered. Shann tried awkwardly to raise the animal's\nhead with his own hand. As far as he could see, there were no open\nwounds; but there might be broken bones, internal injuries he did not\nhave the skill to heal.", "For the Throgs were being herded in from all sides--the handful who had\ncome from the river, the others who had brought Shann there. And the", "Shann sat up and gave the same voiceless instruction to Togi. Then he\ninched out of the hollow, a worm's progress to that narrow way along the", "Shann squirmed. That was, of course, a very obvious supposition. He kept\na tight hold with his left hand, and with the other, he did some", "appeared to be directing the fire of the others was facing Shann's\nposition. And on pure chance that he might knock out that leader, Shann\nchose him for his victim.", "The hour was close to dusk and Shann glanced wistfully at promising\nshadows, though he had given up hope of rescue by now. If he could just\nget free of his guards, he could at least give the beetle-heads a good\nrun." ] ]

[ "What does Throvald have that turns him into a zombie?", "Why is Shann Lantee lucky to be alive?", "Why can Shann and the wolverines not escape the island they are stranded on?", "What do Shann and Throvald have to establish at the very end of the story?", "What does Shann find after he sneaks out of his base at the beginning of the story?", "What is Shann's mission from the Wyverns?", "What is Togi's relationship to Taggi?", "What happens to Shann in the cavern with the Warlockians?", "Who does Shann save from a sea monster?", "Where did Shann Lantee sneak out of?", "What was Shann trying to find by sneaking out?", "What are throgs?", "Who became Shann's rescuer?", "In what manner did Shann and Ragnar live in the land?", "What item turns Thorvald into a zombie?", "What did Shann and Ragnar build to get to an island?", "What was caught in Shann's trap?", "What did Thorvald call the natives?", "What mission did the Wyverns give Shann?", "Who does Shann move across the country with?", "What does Ragnar use to kill the wounded Throg?", "By what route did Shann and Rangnar use to reach the distant land?", "Why did Shann and Ragnar build a canoe?", "What does Shann catchin his small trap?", "Who gives Shann a mission?", "What is Shann's mission?", "Who is Shann captured by on his mission?", "Why were the Throgs going to torture Shann?", "Who saves Shann?" ]

[ [ "A coin like disc. ", "A coin-like object." ], [ "All the occupants of his base were killed by Throgs after he snuck out. ", "Because he evaded the attack of Throgs at the base." ], [ "Shann sabotages his work while being controlled by a telepathic humanoid. ", "A creature is stopping them from escaping." ], [ "They are supposed to form an embassy that maintains contact with the Wyverns. ", "An embassy to maintain contact with the Wyverns. " ], [ "He finds two artificially evolved wolverines. ", "Two artifically evolved wolverines." ], [ "Shann must get a Throg out of the cave it is hiding in. ", "He is to find the cave the Throg is in and remove him from inside." ], [ "Togi is Taggi's mate.", "They are mates" ], [ "Shann experiences memories that are physically real as long as he believes in them. ", "He confronts old memories." ], [ "A young Wyvern. ", "Wyvern" ], [ "A small Terran base on the planet Warlock", "A Terran base." ], [ "Taggi and Togi, two artificially evolved wolverines.", "Two artificially evolved wolverines." ], [ "Hostile insectoid aliens.", "Hostile insectoid aliens" ], [ "Ragnar Thorvald", "Ragnar Thorvald" ], [ "Like natives and not Terrans", "Like natives." ], [ "A coin-like disc", "A coin-like disc" ], [ "An outrigger canoe", "An outrigger canoe" ], [ "A dragon-like humanoid", "A dragon-like humanoid." ], [ "Wyverns", "Wyverns." ], [ "To extract a Throg from a cave where it has taken refuge,", "To extract a Throg from a cave. " ], [ "The wolves", "The wolverines." ], [ "A rock", "Ragnar uses a rock to kill the Throg." ], [ "By sea", "Raft" ], [ "to reach the island", "To go to an island" ], [ "A small dragon like humanoid", "A Warlockian." ], [ "The wayverns", "Wyverns" ], [ "Extract a Throg from a cav?", "To get a Throg out of a cave." ], [ "The Throgs", "The team sent to pick up the Throg" ], [ "Shann warned the ships of the Throgs", "To get him to lure a ship so they can kill the passengers and crew. " ], [ "Torvald and the Wyverns", "Thorvald and the Wyverns." ] ]

[ [ "operation?\n 3.\n \n DON LUIS\n That was last year.", "her as an eight year old.\n \n CAT\n This is the last time I was happy.\n (MORE)", "Not much, and not for a very long\n time.\n \n DON LUIS\n And this is what you traveled all", "then bad things happen. Things\n like...\n \n He alludes to the riddled bodies of her dead parents.", "2. Sherri fast asleep, her hands and feet tied to the post\n of the bed with belts, her shirt pulled up, her money belt\n gone. And the word THIEF written in magic marker across", "time ago. Had I known about this.\n \n CAT\n Why?\n \n EMILIO", "And you figured sooner or later we\n would make this public.\n \n CAT\n It took you a long time.", "CAT\n Maybe next year.\n \n The door opens, reveals shelves with dozens of passports,", "Ten year old bastards stealing\n apples from the carts in the market.\n After all we've been through.\n And now we're on top, he wants to", "EDUARDO\n It's a long time. My memory...\n \n MARCO\n You went to school with his brother", "No one who is still alive.\n \n Mama comes over, puts a plate of eggs in front of her. As\n she begins to wolf down the food. He holds up the page of", "The two cops who booked her drag her out. As they do, the\n Sergeant and the two other cops on duty lean over to try", "thigh...it's fourteen years. Know\n what I mean?\n \n The lights come closer...\n \n COP 2", "And you?\n 67.\n \n CAT\n Not this year.", "She fires three shots into the glass square he is kneeling\n on. The glass shatters. William falls into the water.", "CAT\n This won't take long. Hands up.\n \n Ross raises his hands. Cat reaches around, removes his", "70.\n \n WILLIAM\n Bedtime!\n \n The other girls come running. The party moves up the", "Where a half dozen women are doing laundry by an open tap.\n They look up to the sight of this little girl in the blood\n splattered school uniform, do not say a word. And neither", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "And then she finds Emilio, tied to a chair, tortured. To\n death. This IS too much for her to bear." ], [ "Points to a huge black man with USURPER written in white\n letters across his chest.\n \n ROSS\n ...tried to take over the heroin", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "in law. What was his name? Emilio?\n \n EDUARDO\n Like I said...my memory...", "calling card of...what was his\n name? Your former partner? The\n one who did your wet work?\n \n DON LUIS", "ROSS\n The Gemini cartel. Their crimes\n are self explanatory, if you can\n read. Now I know some of you are", "RICHARD\n And...?\n \n DON LUIS\n Coincidence.", "MARCO\n It could be anyone.\n \n Don Luis reaches out, fast as a Cobra, grabbing Marco by", "So. Business is all clear?\n \n FABIO\n All clear.\n \n He hands Don Luis a computer disc.", "INT. DON LUIS'S MANSION - DAY\n \n Marco points to the floor plan, explaining to the dozen\n thugs gathered with their weapons...", "MARCO\n He also said no names.\n \n GUNMAN\n She won't remember.", "one of his thugs, and the dazed Eduardo. Marco notices\n his ear is bleeding, touches it, it pisses him off that\n blood has soiled his white shirt.", "People disembark. We think Cat is getting off the plane.\n It is Marco and two of his thugs. As he is crossing the\n terminal, he passes a newspaper machine. The headline of", "First for fucking up your shot.\n Second, for an address. You\n remember Fabio? The Cataleya\n Killer?", "clothes you wear. Even your school\n fees. All this comes from Don\n Luis. You know that?\n \n Again Cat shakes her head.", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "MARCO\n I was at your confirmation. My\n name is Marco, and I was a very\n good friend of your father. I see", "The man dances like a puppet on a string, before falling\n to the floor, dead. Marco takes a grenade out, flings it.\n \n MARCO", "DON LUIS\n Marco?\n \n He sees the woman open the rear door of the truck, and" ], [ "She runs up the alley, then ducks down another one. She\n comes to a ladder that leads up a fence, begins to climb.\n \n ON THE GUNMEN", "MARCO\n Kill her!\n \n Marco starts to fire, his men raise their guns. Too late.", "In the blink of an eye, with bullets flying wildly all\n around her, Cat blows five of the seven thugs surrounding\n Marco away. Marco and the remaining two thugs run toward", "pushes through. On the other side, she drops the body,\n and takes his gun.\n \n INT. SECURITY MONITORING ROOM - NIGHT", "She pumps four bullets into his head.\n \n INT. POLICE STATION - NIGHT", "She walks off. Emilio grabs her.\n \n EMILIO\n Chica. Any idiot can be a killer.", "She fires three shots into the glass square he is kneeling\n on. The glass shatters. William falls into the water.", "and as he is killed by Marco, his blast takes out one of\n Marco's thugs.\n \n In an instant it is over. Everyone is dead, except Marco,", "She looks back, to the dead gunmen, disappears over the\n hill.\n \n AND JUST AS SHE DOES...", "And then she finds Emilio, tied to a chair, tortured. To\n death. This IS too much for her to bear.", "We would prefer she be taken alive.\n But with a bitch like this, if you\n get a kill shot you take it.", "She slams the big safe door shut.\n 68.\n \n EXT. CARIBBEAN ISLAND - DAY", "unconscious guard through the door.\n \n ROSS\n We can't see the assassin, but we\n can see...", "she sees the gunmen in hot pursuit. And she jumps, head\n first. Barely squeezing her small frame through the tiny\n window.", "MARCO\n He also said no names.\n \n GUNMAN\n She won't remember.", "Cat reaches the stairs just as the elevator is reaching\n her floor. She ducks down the stairs as the elevator door\n opens, and Ross and his team step out, guns raised,", "draws one of her silencers and shoots the lens out of one\n camera.\n \n INT. SECURITY OFFICE - DAY", "One of the GUNMAN strides over to Cat, jams a gun to her\n head. Cat does not move a muscle. Does not blink.", "The water begins to drip a drop at a time. She closes the\n panel door, sets her digital watch. Hoists herself up to\n the vent in the ceiling, and is gone.", "I think we got her.\n 110.\n \n INT. CLOSET - DAY" ], [ "An FBI agent knocks on the door of the apartment she has\n just entered.\n \n INT. HALL - DAY", "An operator answers.\n \n OPERATOR\n Federal Bureau of Investigation.\n How may I direct your call?", "PULL BACK TO\n 75.\n \n INT. FBI OFFICE - DAY", "DANNY\n FBI headquarters. I didn't tell\n them anything...besides...\n \n CAT V.O.", "Ross's team goes from apartment to apartment. Knocking.\n \n AGENT 1\n FBI...", "enter the house. Marco. And three thugs.\n \n INT. FBI OFFICE - DAY", "CLOSE ON\n \n ROSS\n FBI special agent Jack Ross. I'm", "PULL BACK TO\n \n INT. FBI OFFICE - DAY\n \n Ross is at his computer, staring at the screen and the", "The door of a small jet opens and MARCUS ROSS, 48, a keen\n eyed, no nonsense all business FBI agent, followed by a", "I've got the FBI on my ass now. I\n want that problem taken care of.\n Yesterday. Do you hear me?", "inside. May we have a look around?\n \n As the FBI enters...\n \n INT. BATHROOM - NIGHT", "INT. FBI OFFICE - DAY\n \n Ross has just pinned up Rizzo's picture on a wall filled\n with twenty two other deceased, all with words and a", "EXT. FBI BUILDING - EVENING\n \n The building is emptying out. In the lobby, Ross passes a\n floor cleaner and a lone security guard.", "ROSS\n That's it?\n \n AGENT 1\n That's it.", "Listen, Agent Ross, we don't give\n out any type of information over\n the phone. So what I suggest is\n you file a formal request with the", "incident. The only one that we\n could not verify was a...\n \n He reads.\n \n AGENT 1", "I'm sorry...I'm sorry...I'm sorry\n 98.\n \n INT. FBI OFFICE - DAY", "ROSS\n But not to get prints.\n \n AGENT 1\n We ran the prints in the data base.", "DANNY\n I just wanted to be...\n \n On her surveillance screens, Cat sees FBI SWAT pulling up", "lead agent on a case. A serial\n killer we call the tag killer.\n \n INTERCUT" ], [ "RYAN\n You have a picture?\n \n DANNY\n In my phone.", "Danny sits by his window, also feeling a bit lost, and\n also, so lonely. He stares at the picture of Cat on his\n phone. When the phone rings.", "Ross gets up and leaves the room. Danny is feeling really\n shitty. He takes his phone out of his pocket, looks at\n Cat's picture. And then it rings.", "DANNY\n You know it's so crazy. I was\n just sitting here, looking at your\n picture, thinking \"I'd wish I could", "first time, she seems a bit lost.\n \n INT. DANNY'S APARTMENT - DAY", "(TIGHT)\n What picture Danny???\n \n DANNY\n I took a picture of you while you", "Good...now let's see...hands...\n \n He focuses in on the hands on the pictures from the security\n tape and the ones from Danny's iPhone picture. The images", "INT. DANNY'S APARTMENT - NIGHT\n \n Danny enters his darkened apartment. Goes to turn on the\n switch...", "Danny is sitting with his friend RYAN.\n \n DANNY\n Great body, killer smile.", "Who else saw the picture?\n \n Cat flips the switch on her surveillance screens.\n \n DANNY", "Cat.\n \n Danny smiles, so pleased.\n \n INT. KITCHEN - MORNING", "Shows Ryan the picture he took of Cat.\n \n CLOSE ON THE PICTURE OF CAT", "INT. DANNY'S APARTMENT - DAWN\n \n Danny wakes. His face holds the smile of the memory of", "to the entrance of his low slung apartment building. He\n enters.\n \n INT. DANNY'S HALLWAY - NIGHT", "A buzzer sounds...\n \n EXT. STREET - NIGHT\n \n Danny opens the door to his building.", "security tapes in the police station, the picture from\n Danny's iPhone starts to form. Ross picks up the phone.\n \n ROSS", "DANNY\n That's real progress. Let's see.\n \n She takes her hands out from behind her back, presents him", "DANNY\n It's not even a whole picture. I\n took it while she was asleep.", "It's me.\n 90.\n \n Danny's heart goes to his throat.\n \n DANNY", "Danny starts to laugh. Cat, caught in the moment, begins\n to laugh as well.\n \n DANNY" ], [ "Ross.\n (BEAT)\n It's her.\n 103.\n \n Richard sits back down.", "ROSS\n Where is he?\n \n MARSHAL\n At the hospital.", "ROSS\n She asked you to keep this\n conversation strictly confidential.\n \n RICHARD", "ROSS\n That's it?\n \n AGENT 1\n That's it.", "Ross and his team are listening to the call on an intercom.\n On the screen a tracer is looking for the location of the\n call.", "I'd like to speak to the agent in\n charge of the TAG killings.\n \n INT. ROSS'S OFFICE - DAY", "Ross exits the SUV to the crowd of reporters.\n \n REPORTERS\n Is it Rizzo? Was it an", "Ross exits. Richard looks at the shattered picture. The\n President's head is intact. The bullet has ripped Richard's\n face clean off.", "He hangs up. Seething.\n \n ON ROSS\n \n Looking at his phone and the dial tone emittting from the", "ROSS\n So? What should I do now?\n \n RICHARD\n I'd go to the police. Now if you'll", "ROSS\n Look, let's put all our cards on\n the table here. I've met this\n woman. The killer.", "ROSS V.O.\n I want you to think hard...\n \n INT. ROSS'S OFFICE - SUNSET", "Ross's computer bings. Danny's name and number come up\n with the message: CALL ACTIVE. Ross looks up.", "ROSS V.O.\n See?\n \n INT. POLICE STATION - DAY", "Ross give the go ahead nod. The SWAT hits his detonator.\n At the same moment that his charges explode...", "Holy shit! Call Ross.\n \n EXT. SMALL AIRPORT - MORNING", "excuse me, I have a meeting...\n \n He goes to rise, when Ross's phone rings. He answers.\n \n ROSS", "Yes you can. He's protected by\n your government.\n \n ROSS\n By a part of the government I have", "ROSS\n Where the hell did she go?\n \n INT. SHAFT - DAY", "Ross is looking at the bank of security monitors in Cat's\n cabinet, sees all his men, all over the place, inside the\n building, outside." ], [ "INT. BUS STATION - DAY\n \n Cat dressed in jeans, a scuffed leather jacket, a baseball", "Cat moves up the line to board the bus.\n \n CAT\n We're good.\n \n EMILIO", "And finally, sees the great city of Chicago looming in the\n distance as the bus hurls down the highway towards it.", "PULL BACK TO\n \n INT. BUS STATION - DAY\n \n Cat, barely up to the window, hands the ticket agent the", "He hangs up, goes back to his game.\n \n INT. BUS STATION - DAY", "EXT. CHICAGO BUS TERMINAL - NIGHT\n \n As seedy as any bus terminal. People bustling, people", "PULL BACK TO\n \n INT. BUS STATION - DAY\n \n Cat extracts a knapsack from the locker, heads for the", "Cat, in jeans, t-shirt, a baseball cap with her pony tail\n sticking out the back, exits a phone booth, She boards a\n waiting bus. The doors close. The bus drives off down an", "Cat boards the bus. The doors close behind her.\n \n As the camera ZOOMS up, and the bus pulls out onto the\n road...", "moment, then reaches over, turns the radio off. Goes back\n to looking out the window.\n \n EXT. BOARDING SCHOOL - EVENING", "The total full on crush of people that a major metropolitan\n bus terminal holds. She sees a surveillance camera tucked\n in a corner. She pulls the brim of her hat low over her", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes", "runs out of bullets. Stands watching the van head off\n down the road.\n \n INT. ARMORED VAN - DAY", "People disembark. We think Cat is getting off the plane.\n It is Marco and two of his thugs. As he is crossing the\n terminal, he passes a newspaper machine. The headline of", "cap, with the brim pulled low over her eyes, with her pony\n tail sticking out of the back, the knap sack on her\n shoulder, waits on line to board the bus. She keeps her", "Cat reaches the stairs just as the elevator is reaching\n her floor. She ducks down the stairs as the elevator door\n opens, and Ross and his team step out, guns raised,", "Cat steps off the bus. Looks around to...\n \n EXT. CHICAGO BUS STATION - DAY", "She points halfway down the aisle to an empty bed. Cat is\n about to walk towards it, when Sherri puts a beefy hand in\n her chest.", "Three black SUV's, with blacked out windows, come rolling\n up to the station. The doors open and a dozen U.S. MARSHALS", "A plane lands.\n \n INT. MIAMI AIRPORT - DAY" ], [ "DON LUIS\n And because of that, you have ruined\n your whole life to try to kill me?\n You stupid bitch. Don't you get", "PULL BACK TO\n \n INT. DON LUIS'S MANSION - DAY", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "As the debris falls, and the dust and smoke rises, Marco\n helps Don Luis up. He is a little stunned. Through the", "clothes you wear. Even your school\n fees. All this comes from Don\n Luis. You know that?\n \n Again Cat shakes her head.", "ON DON LUIS as he sips his cognac. He sees a big red truck\n approaching in the distance up the road. As he watches,", "DON LUIS\n Marco. Thank you.\n 108.\n \n MARCO", "...Don Luis watches, as a woman gets out of the truck. He\n cannot make out who it is, what with the fog and his\n vision...", "INT. DON LUIS'S MANSION - DAY\n \n DON LUIS\n She's talking to us.", "EXT. DON LUIS'S MANSION - DAY\n \n Gripped by fear, Don Luis runs for all he is worth across", "DON LUIS\n Marco??\n \n EXT. DON LUIS'S MANSION - DAY", "it? Someone like me?\n (MORE)\n 114.\n \n DON LUIS (CONT'D)", "RICHARD\n And Don Luis, don't play the\n innocent with us. It won't sit", "DON LUIS\n Hello Mr. Richard.\n \n RICHARD", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "EXT. DON LUIS'S MANSION - DAY\n \n The house sits prominent in the middle of a quiet\n neighborhood.", "Well, if you give it to me, Don\n Luis will be very grateful. And\n very generous. He will make sure\n that you are clothed, fed, and", "DON LUIS\n I don't understand you. You should\n have been dead a long time ago.\n You got lucky. You escaped. You", "EXT. DON LUIS'S GARDEN - DAY\n \n At a table, with bottle of liquor and two glasses, Don\n Luis sits opposite..." ], [ "CLOSE ON FABIO'S HAND\n \n Reaches under the table where Cat is sitting, takes a gun\n strapped there. Next to the gun is a big knife.", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension", "He holds out the gun in one hand, and the schoolbag in the\n other. Cat hesitates for a moment. Takes the schoolbag\n from Emilio. Then takes his hand, and they walk off", "As Fabio's men keep a sharp lookout, two SUV's come rolling\n down the street. Their fingers work the triggers of their", "Fabio takes the family picture off the wall, pries the\n frame back, extracts a small chip hidden inside the frame,\n comes over to Cat.", "People disembark. We think Cat is getting off the plane.\n It is Marco and two of his thugs. As he is crossing the\n terminal, he passes a newspaper machine. The headline of", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "So. Business is all clear?\n \n FABIO\n All clear.\n \n He hands Don Luis a computer disc.", "First for fucking up your shot.\n Second, for an address. You\n remember Fabio? The Cataleya\n Killer?", "I'm going to miss you.\n \n FABIO\n And I'm going to miss you.", "OK. OK.\n \n He hangs up. Puts his phone back in his pocket. Walks up\n to Fabio's men.", "Alicia!\n \n His wife runs into the room toting two big assed assault\n rifles. She tosses one to Fabio. Both of them take up", "The door shatters as Cat kicks her way in. Marco pulls\n his trigger. Click! Click! Click! Marco is frozen.\n Just stares at Cat. Waiting for what is going to come.", "Emilio takes a manila envelope out of the bag. Places it\n on the seat next to him. Cat picks it up, looks through\n it.\n 62.", "And what about the future of this\n thing we built?\n \n FABIO\n It's yours. It's not my thing any", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes" ], [ "The Cataleya orchid. His symbol.\n Your name. That's good. This way\n you will always remember him.\n (BEAT)", "letters. And above them, a drawing of the Cataleya orchid.\n The Marshal's knows what this is.\n \n MARSHAL", "Dressed for her first Communion. Everyone is smiling.\n She is holding a Cataleya orchid bouquet.\n \n ON CAT", "CAT V.O.\n ...Cataleya.\n \n Danny looks at the orchid on Ross's desk. Sees the name", "her stomach. And the drawing of the Cataleya orchid.\n \n CLOSE ON\n \n A kind faced Hispanic woman, a...", "one wall, a cabinet. On the window sill a single Cataleya\n orchid. Cat waters the orchid.", "attends to her notebook.\n \n On the window there are half a dozen beautiful orchid\n plants. The rare Cataleya orchid. All around there are", "orchid, alongside a map of Colombia and the specific region\n where the Cataleya is found. He thinks.\n \n ROSS", "An imprint of a flower.\n \n FABIO\n The Cataleya orchid. It comes", "lipstick, the word THIEF, and a drawing of a Cataleya\n orchid. Panic starts to set in.\n \n WILLIAM", "A REAL CATALEYA ORCHID ON A COMPUTER SCREEN WITH THE WORD\n CATALEYA BEING TYPED IN THE SEARCH BAR", "CATALEYA ORCHID imprint on their stomach's. He turns to\n face his team.\n \n ROSS", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "RICHARD\n Coincidence? Twenty two times? A\n flower that only grows in one place\n on earth? That used to be the", "INT. ROSS'S OFFICE - NIGHT\n \n Ross is staring at his Cataleya orchid, looking over his", "Marks his victims with a flower.\n From Colombia. A Cataleya orchid.\n (MORE)\n 74.", "all with the same M.O. The word,\n the flower. He's sending a message,\n for sure. And I'm beginning to\n think it's not to us.", "CLOSE ON THE ORCHID WHICH MORPHS INTO...\n 64.", "across her face. And then se speaks into the phone one\n last time. One word.\n \n CAT\n EAT!", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension" ], [ "MARCO\n (SOFTLY)\n Remember me Cataleya?\n \n Cat shakes her head no.", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "People disembark. We think Cat is getting off the plane.\n It is Marco and two of his thugs. As he is crossing the\n terminal, he passes a newspaper machine. The headline of", "Again, Emilio stops. The man hands her Cat's paper.\n \n MAN\n Says her name's Cataleya.", "This focuses Emilio's attention.\n \n EXT. STREET - NIGHT\n \n Cat is sitting watching the street, when a pair of legs", "Cat hangs up, rushes into the bathroom, turns the shower\n on full blast. Hurrying out, on her screens, she sees the\n SWAT swarming into the building. Cat opens a cabinet. On", "The door shatters as Cat kicks her way in. Marco pulls\n his trigger. Click! Click! Click! Marco is frozen.\n Just stares at Cat. Waiting for what is going to come.", "The men searching look up, and before they can react, Cat\n races past them.\n \n MARCO", "out. They pass Cat in her cell, passed out cold, her long\n legs and short skirt slows their progress a bit. After a\n long look, they move on.", "In the blink of an eye, with bullets flying wildly all\n around her, Cat blows five of the seven thugs surrounding\n Marco away. Marco and the remaining two thugs run toward", "He reaches out to grab her. Cat grabs his hand and slams\n his face into his tray of food, knocking him cold.\n \n INT. HALL - DAY", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we", "One of the GUNMAN strides over to Cat, jams a gun to her\n head. Cat does not move a muscle. Does not blink.", "The gunmen scatter. Marco has his inquisitive eye on Cat,\n who does not drop her eyes, impossible to read.", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "First for fucking up your shot.\n Second, for an address. You\n remember Fabio? The Cataleya\n Killer?", "them. It seems she will be caught any second. She ducks\n down a street where laundry is hung on a concealed metal\n pipe running the length of the alley. As Cat ducks through", "Emilio takes a manila envelope out of the bag. Places it\n on the seat next to him. Cat picks it up, looks through\n it.\n 62.", "VOICE\n Mr. Steven Richard?\n \n RICHARD\n Who is this?", "The cops look at the women's cells, heading right toward\n Cat's. As they reach Cat's, the same cop who did the rounds\n at the beginning of the night looks into her cell. Cat is" ], [ "And then she finds Emilio, tied to a chair, tortured. To\n death. This IS too much for her to bear.", "Emilio covers his mouth, seems rocked.\n \n EMILIO\n Madonna! I thought you were dead!", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "EMILIO\n The good news is your father bought\n you your life with what he gave\n you. The bad news is Don Luis was", "His voice holds anger, not sadness.\n \n CAT\n Killed?\n \n EMILIO", "Where is he?\n 32.\n \n EMILIO\n He's dead.", "The beating stops, Emilio turns.\n \n MAN\n There's a girl looking for you.", "And she exits, leaving Emilio more concerned. He looks\n down at the picture.", "opening behind her. She turns to Emilio. Who approaches\n her cautiously, scrutinizing her.\n 30.\n \n EMILIO", "EMILIO\n You're safe now.\n \n All the emotion, the fear, the anger that she has kept", "EMILIO\n He disappeared fifty billion\n dollars. The money was never\n recovered. Skipped out and bought", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "Emilio drives.\n \n MAMA\n That was such a nice surprise.", "Cat cuts Emilio's beaten and bloodied body loose, and gently\n takes HIM in her arms. And begins to cry.\n \n CAT", "Maybe this will help you understand\n what I am telling you.\n \n Emilio leaves first this time. Cat just stands there, her", "EMILIO (CONT'D)\n If you want to be a killer, and\n survive, you have to be a smart", "He hurries, catches up with her.\n \n EMILIO\n Where you going?\n \n CAT", "PEPE\n I knew it would happen.\n \n EMILIO\n Everyone grows up.", "He crosses himself.\n \n EMILIO\n I thought you were all...", "He holds out the gun in one hand, and the schoolbag in the\n other. Cat hesitates for a moment. Takes the schoolbag\n from Emilio. Then takes his hand, and they walk off" ], [ "DANNY\n I just wanted to be...\n \n On her surveillance screens, Cat sees FBI SWAT pulling up", "Outside Danny's door, Cat crosses to the elevator, waits\n for it to come. As she does, she fixes her clothes a bit,\n her eyes on Danny's door.", "CAT\n Just what?\n \n She keeps kissing him, lightly on the neck...\n \n DANNY", "Danny starts to laugh. Cat, caught in the moment, begins\n to laugh as well.\n \n DANNY", "DANNY\n FBI headquarters. I didn't tell\n them anything...besides...\n \n CAT V.O.", "Danny sits by his window, also feeling a bit lost, and\n also, so lonely. He stares at the picture of Cat on his\n phone. When the phone rings.", "Pulls on her jeans.\n \n DANNY\n Done what?\n \n CAT", "CAT\n Is this close enough?\n \n DANNY\n (SMILES)", "DANNY\n Wait...\n \n CAT\n I shouldn't have done this.", "You should have called.\n \n CAT\n Why?\n \n DANNY", "CAT V.O.\n ...Cataleya.\n \n Danny looks at the orchid on Ross's desk. Sees the name", "Cat.\n \n Danny smiles, so pleased.\n \n INT. KITCHEN - MORNING", "The door shatters as Cat kicks her way in. Marco pulls\n his trigger. Click! Click! Click! Marco is frozen.\n Just stares at Cat. Waiting for what is going to come.", "CAT\n You really want to do this?\n \n DANNY\n Yes, I do.", "CAT\n Isn't that enough?\n \n DANNY\n It's a good start.", "Cat is gone. Danny's smile fades.\n \n EXT. ELEVATOR TRAIN - MORNING", "MARCO\n (SOFTLY)\n Remember me Cataleya?\n \n Cat shakes her head no.", "Ross gets up and leaves the room. Danny is feeling really\n shitty. He takes his phone out of his pocket, looks at\n Cat's picture. And then it rings.", "to the building.\n \n CAT\n Closer. I know. Goodbye Danny.", "I could have been out.\n \n CAT\n I have a key.\n \n DANNY" ], [ "opening behind her. She turns to Emilio. Who approaches\n her cautiously, scrutinizing her.\n 30.\n \n EMILIO", "And then she finds Emilio, tied to a chair, tortured. To\n death. This IS too much for her to bear.", "The beating stops, Emilio turns.\n \n MAN\n There's a girl looking for you.", "You work too much. I keep telling\n that to Emilio. The girl should\n have a life while she is still\n young enough to enjoy it. You", "Again, Emilio stops. The man hands her Cat's paper.\n \n MAN\n Says her name's Cataleya.", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "And she exits, leaving Emilio more concerned. He looks\n down at the picture.", "Emilio covers his mouth, seems rocked.\n \n EMILIO\n Madonna! I thought you were dead!", "Maybe this will help you understand\n what I am telling you.\n \n Emilio leaves first this time. Cat just stands there, her", "EMILIO\n You're safe now.\n \n All the emotion, the fear, the anger that she has kept", "As she goes to rise, Emilio grabs her hand.\n \n EMILIO\n It's not just you in this. It's", "He hurries, catches up with her.\n \n EMILIO\n Where you going?\n \n CAT", "Shoveling more food into her mouth.\n \n EMILIO\n Not anymore?", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "She walks off. Emilio grabs her.\n \n EMILIO\n Chica. Any idiot can be a killer.", "EMILIO\n He disappeared fifty billion\n dollars. The money was never\n recovered. Skipped out and bought", "Cat cuts Emilio's beaten and bloodied body loose, and gently\n takes HIM in her arms. And begins to cry.\n \n CAT", "His voice holds anger, not sadness.\n \n CAT\n Killed?\n \n EMILIO", "need.\n \n Emilio takes them.\n \n EMILIO\n She's still in a bit of shock.", "EMILIO\n The good news is your father bought\n you your life with what he gave\n you. The bad news is Don Luis was" ], [ "(in his ear)\n To kill Don Luis!\n \n MARCO\n AAARRRGGGHHHH!!!!!", "DON LUIS\n And because of that, you have ruined\n your whole life to try to kill me?\n You stupid bitch. Don't you get", "As the debris falls, and the dust and smoke rises, Marco\n helps Don Luis up. He is a little stunned. Through the", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "Don Luis lets out a sigh of relief.\n \n DON LUIS\n Did you see the body?", "Don Luis! This way! Everyone to\n their positions!\n \n As they all run out...", "DON LUIS\n I don't understand you. You should\n have been dead a long time ago.\n You got lucky. You escaped. You", "We have to get Don Luis out of\n here!\n \n The four run off.\n \n MARCO", "EXT. DON LUIS'S MANSION - DAY\n \n Gripped by fear, Don Luis runs for all he is worth across", "EXT. DON LUIS'S MANSION - DAY\n \n The thugs fire until their ammo is spent. As the sound\n dies away, silence reigns.", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "ON DON LUIS as he sips his cognac. He sees a big red truck\n approaching in the distance up the road. As he watches,", "RICHARD\n And Don Luis, don't play the\n innocent with us. It won't sit", "MARCO\n Don Luis! You hide here.\n \n He opens a secret door in the wall, revealing a small space.", "Don Luis runs around Pepe's red truck and the crumbled\n Mercedes, jumps in the armored van.", "...Don Luis watches, as a woman gets out of the truck. He\n cannot make out who it is, what with the fog and his\n vision...", "PULL BACK TO\n \n INT. DON LUIS'S MANSION - DAY", "DON LUIS\n Marco?\n \n He sees the woman open the rear door of the truck, and", "the lapel, pulling him close.\n \n DON LUIS\n Idiot! I told you. Everyone dead.\n Down to the dog.", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we" ], [ "does Cat. She just runs through to a small gate on the\n far side of the courtyard, opens it, and disappears. One\n of the women casually hangs one of her wet sheets over the", "Keeping her back to the security camera overhead, Cat\n collects her things and exits. As the door closes...\n 50.", "MARCO\n (SOFTLY)\n Remember me Cataleya?\n \n Cat shakes her head no.", "She looks out over the side of the building. Marshal's\n stationed outside are running into the building.\n \n Cat takes off running.", "The gunmen scatter. Marco has his inquisitive eye on Cat,\n who does not drop her eyes, impossible to read.", "out. They pass Cat in her cell, passed out cold, her long\n legs and short skirt slows their progress a bit. After a\n long look, they move on.", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "The Mother drops the suitcases and runs to the rear room.\n Fabio comes over to the unnaturally calm Cat.\n \n FABIO", "Cat cuts Emilio's beaten and bloodied body loose, and gently\n takes HIM in her arms. And begins to cry.\n \n CAT", "Maybe this will help you understand\n what I am telling you.\n \n Emilio leaves first this time. Cat just stands there, her", "Cat, the women get up and exit, closing the door behind\n them. Cat is left alone.\n \n She looks around the office, when the sound of a door", "them. It seems she will be caught any second. She ducks\n down a street where laundry is hung on a concealed metal\n pipe running the length of the alley. As Cat ducks through", "The men searching look up, and before they can react, Cat\n races past them.\n \n MARCO", "Cat hangs up, rushes into the bathroom, turns the shower\n on full blast. Hurrying out, on her screens, she sees the\n SWAT swarming into the building. Cat opens a cabinet. On", "In the blink of an eye, with bullets flying wildly all\n around her, Cat blows five of the seven thugs surrounding\n Marco away. Marco and the remaining two thugs run toward", "Over the clamor of reporters outside, Cat is just finishing\n with her finger printing, wipes off as much of the ink as\n she can. The Sergeant hands over her library card.", "Cataleya? Cataleya!\n \n EXT. COUNTRY BUS STOP - SUNSET", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "different directions.\n \n ON CAT\n \n As she comes off the last rooftop, down into a small alley.", "EXT. DON LUIS'S MANSION - DAY\n \n Cat reaches the end of the driveway, fires her last shots," ], [ "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "As Fabio's men keep a sharp lookout, two SUV's come rolling\n down the street. Their fingers work the triggers of their", "FABIO\n You even have to ask?\n \n DON LUIS\n Hey.", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "OK. OK.\n \n He hangs up. Puts his phone back in his pocket. Walks up\n to Fabio's men.", "Not OK Boss?\n \n FABIO\n This bastard thinks I'm an idiot.\n Playing it all mellow and shit.", "off.\n \n Fabio explodes. Smashes the dashboard. Over and over.\n \n FABIO", "So. Business is all clear?\n \n FABIO\n All clear.\n \n He hands Don Luis a computer disc.", "Fabio takes the family picture off the wall, pries the\n frame back, extracts a small chip hidden inside the frame,\n comes over to Cat.", "INT. CAT'S HOME - DAY\n \n Fabio writes on top of Cat's drawing, rips the page off,", "He shrugs. Opens his arms. The two men embrace. Close\n as brothers.\n \n FABIO", "Fabio's kid is behind it.\n \n Eduardo takes the roll of bills and puts it in Marco's\n shirt pocket.", "CLOSE ON FABIO'S HAND\n \n Reaches under the table where Cat is sitting, takes a gun\n strapped there. Next to the gun is a big knife.", "brother.\n \n FABIO\n And I love you Don Luis. Like a\n brother.", "I'm going to miss you.\n \n FABIO\n And I'm going to miss you." ], [ "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "brother.\n \n FABIO\n And I love you Don Luis. Like a\n brother.", "FABIO\n You even have to ask?\n \n DON LUIS\n Hey.", "FABIO\n You know how many times we should\n have been dead?\n \n DON LUIS", "So. Business is all clear?\n \n FABIO\n All clear.\n \n He hands Don Luis a computer disc.", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "FABIO\n I'll always be there for you Luis.\n Just pick up the phone, I'm there.", "Well, if you give it to me, Don\n Luis will be very grateful. And\n very generous. He will make sure\n that you are clothed, fed, and", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "(in his ear)\n To kill Don Luis!\n \n MARCO\n AAARRRGGGHHHH!!!!!", "MARCO\n Don Luis! You hide here.\n \n He opens a secret door in the wall, revealing a small space.", "DON LUIS\n And because of that, you have ruined\n your whole life to try to kill me?\n You stupid bitch. Don't you get", "Hola. We want to see Don Fabio.\n \n BODYGUARD\n He's not home.", "old were we Fabio?\n \n FABIO\n Ten.\n \n DON LUIS", "RICHARD\n And Don Luis, don't play the\n innocent with us. It won't sit", "As the debris falls, and the dust and smoke rises, Marco\n helps Don Luis up. He is a little stunned. Through the", "OK. OK.\n \n He hangs up. Puts his phone back in his pocket. Walks up\n to Fabio's men." ], [ "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "DON LUIS\n And because of that, you have ruined\n your whole life to try to kill me?\n You stupid bitch. Don't you get", "brother.\n \n FABIO\n And I love you Don Luis. Like a\n brother.", "FABIO\n You even have to ask?\n \n DON LUIS\n Hey.", "FABIO\n You know how many times we should\n have been dead?\n \n DON LUIS", "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "So. Business is all clear?\n \n FABIO\n All clear.\n \n He hands Don Luis a computer disc.", "(in his ear)\n To kill Don Luis!\n \n MARCO\n AAARRRGGGHHHH!!!!!", "We have to get Don Luis out of\n here!\n \n The four run off.\n \n MARCO", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "Hola. We want to see Don Fabio.\n \n BODYGUARD\n He's not home.", "MARCO\n Don Luis! You hide here.\n \n He opens a secret door in the wall, revealing a small space.", "PULL BACK TO\n \n INT. DON LUIS'S MANSION - DAY", "RICHARD\n And Don Luis, don't play the\n innocent with us. It won't sit", "Don Luis! This way! Everyone to\n their positions!\n \n As they all run out...", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "Well, if you give it to me, Don\n Luis will be very grateful. And\n very generous. He will make sure\n that you are clothed, fed, and" ], [ "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes", "filled face.\n \n MOTHER\n Fabio?\n \n FABIO", "Fabio takes the family picture off the wall, pries the\n frame back, extracts a small chip hidden inside the frame,\n comes over to Cat.", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension", "old were we Fabio?\n \n FABIO\n Ten.\n \n DON LUIS", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "off.\n \n Fabio explodes. Smashes the dashboard. Over and over.\n \n FABIO", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "INT. CAT'S HOME - DAY\n \n Fabio writes on top of Cat's drawing, rips the page off,", "And then footsteps, coming fast outside, draw his attention.\n 8.\n \n FABIO", "OK. OK.\n \n He hangs up. Puts his phone back in his pocket. Walks up\n to Fabio's men.", "FABIO\n You even have to ask?\n \n DON LUIS\n Hey.", "FABIO\n You know how many times we should\n have been dead?\n \n DON LUIS", "car take defensive positions. Fabio runs up the stairs.\n \n INT. CAT'S HOME - DAY", "I'm going to miss you.\n \n FABIO\n And I'm going to miss you.", "Emilio, fifteen years older, is watching a soccer game,\n picks up the phone. In the kitchen, Mama is cooking." ], [ "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "filled face.\n \n MOTHER\n Fabio?\n \n FABIO", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "FABIO\n Why not?\n \n Cat's father. Off to the side, Don Luis's right hand man,", "Fabio takes the family picture off the wall, pries the\n frame back, extracts a small chip hidden inside the frame,\n comes over to Cat.", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension", "brother.\n \n FABIO\n And I love you Don Luis. Like a\n brother.", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "I'm going to miss you.\n \n FABIO\n And I'm going to miss you.", "FABIO\n You even have to ask?\n \n DON LUIS\n Hey.", "off.\n \n Fabio explodes. Smashes the dashboard. Over and over.\n \n FABIO", "Alicia!\n \n His wife runs into the room toting two big assed assault\n rifles. She tosses one to Fabio. Both of them take up", "FABIO\n You know how many times we should\n have been dead?\n \n DON LUIS", "The beating stops, Emilio turns.\n \n MAN\n There's a girl looking for you.", "INT. CAT'S HOME - DAY\n \n Fabio writes on top of Cat's drawing, rips the page off,", "And then footsteps, coming fast outside, draw his attention.\n 8.\n \n FABIO", "old were we Fabio?\n \n FABIO\n Ten.\n \n DON LUIS" ], [ "He pushes his family back inside. Fabio runs to the window.\n Sees his men on the losing end of a gun battle. As the\n men fall, and others run up the stairs firing as they", "the driver in the front. They see Fabio very contained,\n calm, walking towards them. The driver turns the engine\n on. Fabio slips into the passenger seat. The car takes", "FABIO\n Listen to me my darling. Just in\n case of anything. This...\n \n He holds the chip up.", "Fabio's kid is behind it.\n \n Eduardo takes the roll of bills and puts it in Marco's\n shirt pocket.", "Fabio's car comes to a screeching halt. Fabio exits to\n three other gunmen, nervous, on edge. The gunmen from the", "filled face.\n \n MOTHER\n Fabio?\n \n FABIO", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "CLOSE ON FABIO'S HAND\n \n Reaches under the table where Cat is sitting, takes a gun\n strapped there. Next to the gun is a big knife.", "You are a smart girl.\n \n Marco opens his hand.\n \n MARCO", "...kill anything that comes through.\n \n Marco runs into the bedroom.\n \n INT. BEDROOM - DAY", "Fabio takes the family picture off the wall, pries the\n frame back, extracts a small chip hidden inside the frame,\n comes over to Cat.", "he gave you his medal.\n \n Alluding to the medal around her neck.\n \n MARCO", "underneath the table, her fist closed tight. Marco smiles,\n kindly. He holds out his hand.\n \n MARCO", "He goes to hand it to Eduardo.\n \n EDUARDO\n For what?\n \n MARCO", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension", "MARCO (CONT'D)\n But if you don't give it to him,\n he will be very unhappy. And you\n see what happens when he is not", "FABIO\n It's all here.\n \n DON LUIS\n No other copies?", "MARCO\n Kill her!\n \n Marco starts to fire, his men raise their guns. Too late.", "He shrugs. Opens his arms. The two men embrace. Close\n as brothers.\n \n FABIO", "OK. OK.\n \n He hangs up. Puts his phone back in his pocket. Walks up\n to Fabio's men." ], [ "In the blink of an eye, with bullets flying wildly all\n around her, Cat blows five of the seven thugs surrounding\n Marco away. Marco and the remaining two thugs run toward", "In a flash, the knife is whipped out and buried into Marco's\n unsuspecting, open palm. Driven with such force, the knife\n pierces through the back of his hand, and sticks into the", "The door shatters as Cat kicks her way in. Marco pulls\n his trigger. Click! Click! Click! Marco is frozen.\n Just stares at Cat. Waiting for what is going to come.", "MARCO\n (SOFTLY)\n Remember me Cataleya?\n \n Cat shakes her head no.", "The gunmen scatter. Marco has his inquisitive eye on Cat,\n who does not drop her eyes, impossible to read.", "The men searching look up, and before they can react, Cat\n races past them.\n \n MARCO", "Marco exits Cat's house, wrapping his bloody hand tightly\n with a piece of his shirt.\n \n MARCO", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "MARCO\n Kill her!\n \n Marco starts to fire, his men raise their guns. Too late.", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "Marco, in an open top jeep, with three of his gunmen ON\n BOARD, comes rolling up the road. He sees Cat.", "MARCO\n This.\n \n Cat looks from the bodies and back to Marco, no emotion in\n her eyes.", "The gunman stops.\n \n MARCO\n She's a kid.\n \n GUNMAN", "ON MARCO\n \n As his jeep speeds right for her.\n \n ON CAT", "one of his thugs, and the dazed Eduardo. Marco notices\n his ear is bleeding, touches it, it pisses him off that\n blood has soiled his white shirt.", "Silence. And then, a whistle from above. Marco looks up\n to see Cat, standing on a second floor balcony with two\n pistols.", "ON CAT\n \n She sees Marco. She pauses for a moment, and then does", "People disembark. We think Cat is getting off the plane.\n It is Marco and two of his thugs. As he is crossing the\n terminal, he passes a newspaper machine. The headline of", "MARCO\n It could be anyone.\n \n Don Luis reaches out, fast as a Cobra, grabbing Marco by", "the street, peers into the grate, sees Cat staring up at\n him.\n \n Marco takes his gun out. Jams it in the grate..." ], [ "MARCO\n (SOFTLY)\n Remember me Cataleya?\n \n Cat shakes her head no.", "DON LUIS\n Marco?\n \n CAT\n It's Cataleya.", "them. They turn to Cat. Who smiles, like a child. Emilio\n smiles back. Mama takes Cat's hand, kisses it. They all\n sit and listen to the Mass, like all the other families", "does Cat. She just runs through to a small gate on the\n far side of the courtyard, opens it, and disappears. One\n of the women casually hangs one of her wet sheets over the", "CAT\n He did.\n \n She takes out an old picture of Don Luis, lifted from the\n internet. She takes out the picture of her parents and", "her stomach. And the drawing of the Cataleya orchid.\n \n CLOSE ON\n \n A kind faced Hispanic woman, a...", "In the blink of an eye, with bullets flying wildly all\n around her, Cat blows five of the seven thugs surrounding\n Marco away. Marco and the remaining two thugs run toward", "The Cataleya orchid. His symbol.\n Your name. That's good. This way\n you will always remember him.\n (BEAT)", "The gunmen scatter. Marco has his inquisitive eye on Cat,\n who does not drop her eyes, impossible to read.", "Cataleya? Cataleya!\n \n EXT. COUNTRY BUS STOP - SUNSET", "PRINCIPAL\n Of course. See you Monday Cataleya.\n Such a pretty name.", "them. It seems she will be caught any second. She ducks\n down a street where laundry is hung on a concealed metal\n pipe running the length of the alley. As Cat ducks through", "Cat has all she can do to keep it together. Then she finds\n Pepe, a bullet in his head. It is almost too much for her\n to bear.", "Cat hangs up, rushes into the bathroom, turns the shower\n on full blast. Hurrying out, on her screens, she sees the\n SWAT swarming into the building. Cat opens a cabinet. On", "out. They pass Cat in her cell, passed out cold, her long\n legs and short skirt slows their progress a bit. After a\n long look, they move on.", "clothes you wear. Even your school\n fees. All this comes from Don\n Luis. You know that?\n \n Again Cat shakes her head.", "Cat is still at the table drawing, when she hears the\n screeching of tires, the fast footsteps outside. She senses\n a storm coming. Fabio bursts in. His wife sees his tension", "Cat still says nothing. She walks up the aisle past all\n the other girls, who remain silent. It is only after Cat", "The door shatters as Cat kicks her way in. Marco pulls\n his trigger. Click! Click! Click! Marco is frozen.\n Just stares at Cat. Waiting for what is going to come.", "Cat cuts Emilio's beaten and bloodied body loose, and gently\n takes HIM in her arms. And begins to cry.\n \n CAT" ], [ "(in his ear)\n To kill Don Luis!\n \n MARCO\n AAARRRGGGHHHH!!!!!", "DON LUIS\n And because of that, you have ruined\n your whole life to try to kill me?\n You stupid bitch. Don't you get", "As the debris falls, and the dust and smoke rises, Marco\n helps Don Luis up. He is a little stunned. Through the", "Don Luis is panicking. Yelling into the phone.\n \n DON LUIS\n Marco! Marco!", "Don Luis lets out a sigh of relief.\n \n DON LUIS\n Did you see the body?", "Don Luis! This way! Everyone to\n their positions!\n \n As they all run out...", "DON LUIS\n I don't understand you. You should\n have been dead a long time ago.\n You got lucky. You escaped. You", "We have to get Don Luis out of\n here!\n \n The four run off.\n \n MARCO", "EXT. DON LUIS'S MANSION - DAY\n \n Gripped by fear, Don Luis runs for all he is worth across", "EXT. DON LUIS'S MANSION - DAY\n \n The thugs fire until their ammo is spent. As the sound\n dies away, silence reigns.", "Adios Don Fabio. I'll do my best.\n \n And with that, Fabio exits the garden. Don Luis watches", "ON DON LUIS as he sips his cognac. He sees a big red truck\n approaching in the distance up the road. As he watches,", "RICHARD\n And Don Luis, don't play the\n innocent with us. It won't sit", "MARCO\n Don Luis! You hide here.\n \n He opens a secret door in the wall, revealing a small space.", "Don Luis runs around Pepe's red truck and the crumbled\n Mercedes, jumps in the armored van.", "...Don Luis watches, as a woman gets out of the truck. He\n cannot make out who it is, what with the fog and his\n vision...", "PULL BACK TO\n \n INT. DON LUIS'S MANSION - DAY", "DON LUIS\n Marco?\n \n He sees the woman open the rear door of the truck, and", "the lapel, pulling him close.\n \n DON LUIS\n Idiot! I told you. Everyone dead.\n Down to the dog.", "Don Luis. Let's cut to the chase\n here, OK? When the Agency extracted\n your ass from Colombia fifteen\n years ago, and set you up here, we" ] ]

[ "What year did this happen?", "What drug lord named?", "When did the Zoe Saldana accomplished assasssin?", "Who was the FBI Agent?", "Who Danny show picture?", "WhodidRoss meet with?", "Who boards interstate bus?", "Who is Don Luis Sandoval?", "What is the last thing Fabio gave Cataleya before he was gunned down?", "What is the significance of the cattleya orchid in this story?", "How did Cataleya finally get the attention of CIA agent Steve Richard?", "What happened to Emilio and his family?", "What is the one mistake Danny made that almost caught Cataleya?", "When did Emilio retire his niece from her work?", "How is Don Luis killed?", "Where did Cataleya go at the end of the story?", "Who is Fabio's boss?", "What does Fabio tell Don Luis?", "Who does Don Luis send to kill Fabio and his family?", "How old is Fabio's daughter?", "What is Fabio's daughter's name?", "What does Fabio give his daughter when Marco comes?", "Where does Cataleya stab Marco when she is a child?", "What does Cataleya grow up to become?", "How is Don Luis killed?" ]

[ [ "1992.", "2007" ], [ "Fabio Resrepo JesseBorrego.", "Don Luis Sandoval" ], [ "Fifteen years later.", "15 years later" ], [ "Janes Ross. ", "Special Agent James Ross" ], [ "Ryan. ", "He shows his friend Ryan" ], [ "CIA agent SteveRichard.", "Cataleya" ], [ "Cataleya.", "Cataleya boards a bus to chicago." ], [ "A Columbia drug lord.", "A drug lord and Fabio's boss. " ], [ "The cattleya orchid necklace.", "His mother's cataleya orchid necklace" ], [ "Cataleya leaves an orchid at each murder scene as a message to Don Luis", "her name and signature" ], [ "She fired a warning shot through his bulletproof window.", "an orchid related to 20 cases" ], [ "They were tortured and killed by Don Luis' men.", "They are tortured and killed by Don Luis' men." ], [ "He snapped a picture of her while she slept. Than Danny's friend, Ryan, sent the picture to the police for identification.", "Shows her picture to his friend Ryan" ], [ "When his friend and seven others were slaughtered in Miami.", "After the muder of his friend in Miami." ], [ "Cataleya gave Pepe's two dogs a command to attack Don Luis. He was mauled to death.", "Pepe's attack dogs maul Luis to death." ], [ "Destination unknown", "Unknown destination" ], [ "Don Luis Sandoval", "don luis" ], [ "That he wants to leave crime crime behind", "That he wants to leave crime behind." ], [ "Marco", "A henchman" ], [ "9", "Nine." ], [ "Cataleya", "Cateleya" ], [ "a memory card", "the drive, and a necklace" ], [ "in the hand", "In the hand." ], [ "an assasin", "an assassin" ], [ "attacked by 2 dogs", "He is mauled by Pepe's attack dogs" ] ]

[ [ "ANNIE \n\t\t\t(Putting down the books and \n\t\t\tflipping back her hair) \n\t\tWell, uh, Alvy, you wanted to break up \n\t\tjust as much as I do.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Annie bangs up and moves over to Alvy.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ANNIE \n\t\t\t(Looking back at Alvy) \n\t\tAlvy, uh, let's face it. You know \n\t\tsomething, don't think our relationship \n\t\tis working.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "ANNIE\n \t\t\t\t(Shaking her head) \n\t\tNo.\n\nAlvy, disgusted, starts waving his hands and starts to move into the living \nroom.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Allison and, Alvy are on the bed, kissing. There are books all over the room; \na fireplace, unlit, along one of the walls. Alvy suddenly breaks away and sits", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie." ], [ "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Annie bangs up and moves over to Alvy.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ANNIE \n\t\t\t(Putting down the books and \n\t\t\tflipping back her hair) \n\t\tWell, uh, Alvy, you wanted to break up \n\t\tjust as much as I do.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater," ], [ "She turns and looks at Alvy.", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "The camera cuts to Alvy, who turns and looks straight into the camera.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "2ND MAN \n\t\t\t(To Alvy, overlapping 1st man's speech) \n\t\tYou really Alvy Singer, the ... the \n\t\tTV star?", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "She beats her fist on the bed. Reacting, Alvy puts his arm around her shoulder\nand leans back against the wall.\n\n\t\t\t\tALVY\n \t\t\tOh, Jesus, really?", "INT. ALVY'S BEDROOM-NIGHT\n\nThe reporter is sitting up in bed, lighted cigarette in her hand. Alvy, lying\nnext to her, rubs his eyes and puts on his eyeglasses.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "The office is very modern: stark, white and chrome. Alvy, talking to his \npsychiatrist, lies on a deep leather sofa, the doctor seated away from him." ], [ "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "Annie bangs up and moves over to Alvy.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ANNIE \n\t\t\t(Looking for the first time at Alvy)", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ANNIE \n\t\tHi.\n\nAlvy wipes at his nose as he stares. He smiles, the street traffic moving \nbehind him. Annie smiles back.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Annie gets into the cab; Alvy leans over and closes the door.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Annie and Alvy browsing in crowded bookstore. Alvy, carrying two books, \n\"Death and Western Thought\" and \"The Denial of Death\", moves over to where \nAnnie is looking.", "The younger, Annie and Jerry lean against the wall. Jerry is running his band \ndown Annie's bare arm. Annie and Alvy walk into the room, observing the younger\nAnnie, in jeans and T-shirt, with Jerry.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs." ], [ "Annie bangs up and moves over to Alvy.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "Alvy and Annie in the VW as Annie speeds down a city street near the East River.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "It's now sunset, the water reflecting the last light. The camera moves over \nthe scene. The off screen voices of Alvy and Annie are heard as they walk, the\ncamera always one step ahead of them.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy and Annie walk almost in silhouette along the dock, the New York City \nskyline in the background. Alvy has his arm around Annie and they walk slowly.\nNo one else is around.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "ANNIE \n\t\t\t(Laughing) \n\t\tOh.\n\nAlvy shakes hands with Annie." ], [ "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "ALVY \n\t\tI thought just earplugs.\n\nAnnie gets into her car. Alvy moves over to his rented convertible.", "Alvy at the tennis club, packing his bag, as he looks over his shoulder and \nsees Annie, hands on her face, then clapping, as she offers him a ride home \nin her car.", "Alvy and Annie in the VW as Annie speeds down a city street near the East River.", "Annie closes the cab door and she and Alvy move over to the ticket booth of \nthe theater as they continue to talk.", "Annie gets into the cab; Alvy leans over and closes the door.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "It's a warm, beautiful day. Rob, Annie and Alvy in Rob's convertible are \nmoving past the spacious houses, the palm trees. The sunlight reflects off", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie bangs up and moves over to Alvy.", "They stop walking. Holding Annie's arms, Alvy turns her to face him. The \nSouth Street Bridge, lit up for the night, is in the background.", "They both fumble around in her pocketbook. Alvy looks up to see the entire \nfront of a truck in Annie's windshield. She swerves just in time." ], [ "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Annie bangs up and moves over to Alvy.", "The camera cuts to Alvy, who turns and looks straight into the camera.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "Alvy and Annie sit close together on the sofa in some friends' apartment. \nTheir friends, another couple, stand behind the sofa in the background. \nExcited, they talk almost all at once.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "The man in line moves toward Alvy. Both address the audience now.\n\n\t\t\t\tMAN IN LINE \n\t\tWait a minute, why can't I give my opinion? \n\t\tIt's a free country!", "It's now sunset, the water reflecting the last light. The camera moves over \nthe scene. The off screen voices of Alvy and Annie are heard as they walk, the\ncamera always one step ahead of them.", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "CUT TO:\n\nEXT. STREET\n\nAnnie stands at the open door of a cab, Alvy next to her gesturing as people \nand cars move by.", "As Alvy talks, the camera shows him move from his seat and kiss a young girl. \nShe jumps from her seat in disgust, rubbing her cheek, as Alvy moves back to \nhis seat.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands." ], [ "Annie and Alvy browsing in crowded bookstore. Alvy, carrying two books, \n\"Death and Western Thought\" and \"The Denial of Death\", moves over to where \nAnnie is looking.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "ALVY\n\t\t- I ... I love you. \n\t\t\t(Over Annie's laughter)", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "They both fumble around in her pocketbook. Alvy looks up to see the entire \nfront of a truck in Annie's windshield. She swerves just in time.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "ALVY \n\t\tI thought just earplugs.\n\nAnnie gets into her car. Alvy moves over to his rented convertible.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "Alvy touches the tie Annie is wearing around her neck.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Annie bangs up and moves over to Alvy." ], [ "Annie bangs up and moves over to Alvy.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "ANNIE \n\t\t\t(Putting down the books and \n\t\t\tflipping back her hair) \n\t\tWell, uh, Alvy, you wanted to break up \n\t\tjust as much as I do.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the" ], [ "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "The camera cuts to Alvy, who turns and looks straight into the camera.", "The office is very modern: stark, white and chrome. Alvy, talking to his \npsychiatrist, lies on a deep leather sofa, the doctor seated away from him.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "INT. ALVY'S BEDROOM - DAY\n\nAlvy sits on his bed talking on the phone.", "Annie bangs up and moves over to Alvy.", "It's now sunset, the water reflecting the last light. The camera moves over \nthe scene. The off screen voices of Alvy and Annie are heard as they walk, the\ncamera always one step ahead of them.", "INT. ALVY'S BEDROOM-NIGHT\n\nThe reporter is sitting up in bed, lighted cigarette in her hand. Alvy, lying\nnext to her, rubs his eyes and puts on his eyeglasses.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY \n\t\tThere's an old joke. Uh, two elderly \n\t\twomen are at a Catskills mountain", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "Allison and, Alvy are on the bed, kissing. There are books all over the room; \na fireplace, unlit, along one of the walls. Alvy suddenly breaks away and sits", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles." ], [ "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ANNIE \n\t\t\t(Looking for the first time at Alvy)", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "ANNIE \n\t\tHi.\n\nAlvy wipes at his nose as he stares. He smiles, the street traffic moving \nbehind him. Annie smiles back.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy and Annie sit close together on the sofa in some friends' apartment. \nTheir friends, another couple, stand behind the sofa in the background. \nExcited, they talk almost all at once.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ANNIE \n\t\t\t(Laughing) \n\t\tOh.\n\nAlvy shakes hands with Annie." ], [ "Annie, spotlighted onstage, stands in front of the microphone, smiling. She \nlooks downward and sings \"Seems Like Old Times. \" The audience applauds \nloudly as the music fades out.", "Annie stands on center stage with a microphone, a pianist behind her. A \nBright light is focused on her; the rest of the club is in darkness. There", "ANNIE\n\t\t\t(Laughing) \n\t\tOh, no-I mean, I'm just a-auditioning \n\t\tsort of at club. I don't-", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ANNIE \n\t\tI know, well, it's just that-you know, I \n\t\tmean, I-I-I-I gotta sing tomorrow night, \n\t\tso I have to rest my voice.", "clattering trays, a ringing phone as Annie sings \"It Had to Be You.", "Alvy sits at the bar, clapping and staring at Annie as she walks over to him \nand sits down. The low murmur of the night club is surrounding them.", "ANNIE\n \t\t\t\t(Laughing) \n\t\tOh! My God! \n\t\t\t(Making sounds)\n\nAlvy kisses Annie.", "ANNIE \n\t\t\t(Laughing) \n\t\tWell, okay. Well, listen, I'm gonna get \n\t\ta cigarette, okay?", "ANNIE \n\t\t\t(Laughing) \n\t\tYeah, I know.\n\n\t\t\t\tALVY \n\t\tYour grammy!", "ANNIE \n\t\t\t(Laughing) \n\t\tI don't know. I don't know.\n\nShe picks up an hors doeuvre.", "ANNIE\n \t\t\t\t(Laughing) \n\t\tNo, no, no, not at all.", "ANNIE \n\t\t\t(Laughing) \n\t\tOh, I'm in her acting class.\n\n\t\t\t\tALVY \n\t\tOh - you're an actress.", "ANNIE \n\t\tYeah.\n\n\t\t\t\tTONY\n\t\tAnd here, you just-", "ANNIE\n \t\t\t\t(Making sounds) \n\t\tThis is-\n\t\t\t(Making sounds)\n\t\tHuh?", "ANNIE\n \t\t\t\t(Laughing) \n\t\tOh, yeah.", "ANNIE \n\t\t\t(Over lapping above speech) \n\t\tOh.", "ANNIE\n \t\t\tWell, I had a really good day, you know \n\t\tthat? It was just a real fine way to \n\t\tspend my birthday.", "ANNIE\n \t\t\t\t(Sobbing) \n\t\tOh, uh, I don't know. I miss you. Tsch.", "ANNIE \n\t\t\t(Stopping for a moment) \n\t\tOh, well, now we're finally getting to \n\t\ta subject you know something about!\n\nShe walks away." ], [ "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Annie and Alvy browsing in crowded bookstore. Alvy, carrying two books, \n\"Death and Western Thought\" and \"The Denial of Death\", moves over to where \nAnnie is looking.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "ALVY\n\t\t- I ... I love you. \n\t\t\t(Over Annie's laughter)", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "They both fumble around in her pocketbook. Alvy looks up to see the entire \nfront of a truck in Annie's windshield. She swerves just in time.", "Alvy touches the tie Annie is wearing around her neck.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "And continue: Annie carrying her luggage and clothes into Alvy's bedroom, Alvy \nfollowing, the day she first moved into his apartment. Annie holding up her", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "ALVY \n\t\tI thought just earplugs.\n\nAnnie gets into her car. Alvy moves over to his rented convertible." ], [ "Annie bangs up and moves over to Alvy.", "An actor and actress sit on hard wooden chairs in a sparse rehearsal ball. \nThey face each other. The actress resembles Annie; the actor, Alvy.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "ANNIE \n\t\t\t(Looking for the first time at Alvy)", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "ANNIE\n \t\t\tOh, yeah?\n\n\t\t\t\tALVY\n \t\t\tYeah.\n\n\t\t\t\tANNIE\n \t\t\tYeah?", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "ANNIE \n\t\tOh.\n\nINT. DARKENED BEDROOM-NIGHT\n\nAlvy and Annie in bed together.", "Annie and Alvy browsing in crowded bookstore. Alvy, carrying two books, \n\"Death and Western Thought\" and \"The Denial of Death\", moves over to where \nAnnie is looking." ], [ "Annie bangs up and moves over to Alvy.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ANNIE \n\t\t\t(On the phone, overlapping the \n\t\t\tdoctor and Alvy)", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "ANNIE \n\t\t\t(Putting down the books and \n\t\t\tflipping back her hair) \n\t\tWell, uh, Alvy, you wanted to break up \n\t\tjust as much as I do.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "And continue: Annie carrying her luggage and clothes into Alvy's bedroom, Alvy \nfollowing, the day she first moved into his apartment. Annie holding up her", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera." ], [ "Annie bangs up and moves over to Alvy.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy and Annie in the VW as Annie speeds down a city street near the East River.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "Annie and Alvy sit, the stewardess behind them serving other passengers. Annie\nstares out the window bolding a coffee cup; Alvy reads. Both are preoccupied, \nthinking their own thoughts.", "It's now sunset, the water reflecting the last light. The camera moves over \nthe scene. The off screen voices of Alvy and Annie are heard as they walk, the\ncamera always one step ahead of them.", "Alvy and Annie walk almost in silhouette along the dock, the New York City \nskyline in the background. Alvy has his arm around Annie and they walk slowly.\nNo one else is around.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "EXT. LOS ANGELES AIRPORT.\n\nPeople milling about as Alvy, in the outside phone-booth center, talks.", "Annie closes the cab door and she and Alvy move over to the ticket booth of \nthe theater as they continue to talk." ], [ "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Annie bangs up and moves over to Alvy.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "The camera cuts to Alvy, who turns and looks straight into the camera." ], [ "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "Annie bangs up and moves over to Alvy.", "Alvy and Annie in the VW as Annie speeds down a city street near the East River.", "Alvy and Annie walk almost in silhouette along the dock, the New York City \nskyline in the background. Alvy has his arm around Annie and they walk slowly.\nNo one else is around.", "Alvy and Annie sit close together on the sofa in some friends' apartment. \nTheir friends, another couple, stand behind the sofa in the background. \nExcited, they talk almost all at once.", "Annie and Alvy in the Hamptons house kitchen, Annie banding a live lobster to \nAlvy, who drops it in the pot on the stove.\n\nAnnie and Alvy walking side by side by the shoreline.", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "They stop walking. Holding Annie's arms, Alvy turns her to face him. The \nSouth Street Bridge, lit up for the night, is in the background.", "Annie gets into the cab; Alvy leans over and closes the door.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie closes the cab door and she and Alvy move over to the ticket booth of \nthe theater as they continue to talk.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "CUT TO:\n\nEXT. STREET\n\nAnnie stands at the open door of a cab, Alvy next to her gesturing as people \nand cars move by.", "It's now sunset, the water reflecting the last light. The camera moves over \nthe scene. The off screen voices of Alvy and Annie are heard as they walk, the\ncamera always one step ahead of them.", "Annie, sitting cross-legged on a wooden chest in the bedroom, is browsing \nthrough a school catalogue. Alvy lies in bed reading." ], [ "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie and Alvy sit down in a booth. The deli is fairly well lit and crowded. \nConversation, plates clattering, can be heard over the dialogue. The waiter \ncomes over to them to take their order.", "Alvy begins to eat.\n\n\t\t\t\tANNIE \n\t\tUh-huh ... Oh, hospital?", "Annie hands the lobster to Alvy as he takes it very carefully and drops it \ngingerly into the pot and puts the cover back on.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Annie bangs up and moves over to Alvy.", "Annie and Alvy in the Hamptons house kitchen, Annie banding a live lobster to \nAlvy, who drops it in the pot on the stove.\n\nAnnie and Alvy walking side by side by the shoreline.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "Reacting, Alvy puts up his band in disgust, then starts eating the piece of \nchicken he has been holding. The doctor and Annie watch him, reacting.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "Annie, sitting cross-legged on a wooden chest in the bedroom, is browsing \nthrough a school catalogue. Alvy lies in bed reading." ], [ "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ANNIE \n\t\t\t(Looking for the first time at Alvy)", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "ANNIE \n\t\tHi.\n\nAlvy wipes at his nose as he stares. He smiles, the street traffic moving \nbehind him. Annie smiles back.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy and Annie sit close together on the sofa in some friends' apartment. \nTheir friends, another couple, stand behind the sofa in the background. \nExcited, they talk almost all at once.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ANNIE \n\t\t\t(Laughing) \n\t\tOh.\n\nAlvy shakes hands with Annie." ], [ "INT. THE HOUSE WHERE ALVY GREW UP\n\nAlvy's mother sits at the old-fashioned dining-room table peeling carrots and \ntalking as she looks off screen.", "INT. ALVY'S BEDROOM - DAY\n\nAlvy sits on his bed talking on the phone.", "(Young Alvy sits, his head down. His \n\t\t\tmother answers for him) \n\t\tIt's something he read.", "Alvy as young boy sits on a sofa with his mother in an old-fashioned, \ncluttered doctor's office. The doctor stands near the sofa, holding a \ncigarette and listening.", "The office is very modern: stark, white and chrome. Alvy, talking to his \npsychiatrist, lies on a deep leather sofa, the doctor seated away from him.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "The camera cuts to Alvy, who turns and looks straight into the camera.", "MOTHER \n\t\t\t(Nudging Alvy) \n\t\tTell Dr. Flicker.", "Alvy's conversation is still heard as the screen shows him behind the wheel of \na car on a busy street; he causes a near-accident by jerking the car too slowly\ntoward an intersection.", "The screen splits in half - on the right is Alvy's family - his mother, father,\naunt and uncle-busily eating at the crowded kitchen table. They eat quickly", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "MOM HALL \n\t\t\t(Lighting a cigarette and turning \n\t\t\tto Alvy) \n\t\tAnn tells us that you've been seeing a \n\t\tpsychiatrist for fifteen years.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "She beats her fist on the bed. Reacting, Alvy puts his arm around her shoulder\nand leans back against the wall.\n\n\t\t\t\tALVY\n \t\t\tOh, Jesus, really?", "She turns and looks at Alvy.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "The man in line moves toward Alvy. Both address the audience now.\n\n\t\t\t\tMAN IN LINE \n\t\tWait a minute, why can't I give my opinion? \n\t\tIt's a free country!", "TONY \n \t\t\tUh, well, I'd like to talk to you about \n\t\tthat sometime, if you get a chance.\n\nSeated Alvy looks the other way, reacting.", "He continues to walk past some other passersby and moves into the street. A \nmounted policeman comes by and stops near him. Alvy looks at the horse, as if \nto speak." ], [ "As Alvy talks, the camera shows him move from his seat and kiss a young girl. \nShe jumps from her seat in disgust, rubbing her cheek, as Alvy moves back to \nhis seat.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "A couple, walking down the street, stops as the man talks to Alvy.\n\n\t\t\t\tMAN ON THE STREET \n\t\tShe's living in Los Angeles with \n\t\tTony Lacey.", "She beats her fist on the bed. Reacting, Alvy puts his arm around her shoulder\nand leans back against the wall.\n\n\t\t\t\tALVY\n \t\t\tOh, Jesus, really?", "Annie bangs up and moves over to Alvy.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "She turns and looks at Alvy.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "ANNIE\n \t\t\t\t(Shaking her head) \n\t\tNo.\n\nAlvy, disgusted, starts waving his hands and starts to move into the living \nroom.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "2ND MAN \n\t\t\t(Also ignoring Alvy) \n\t\tWhat program?", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Grammy Hall stares down the table at Alvy; a look of utter dislike. Alvy tries \nnot to notice.", "She drops the paddle and picks up one of the lobsters by the tail. Laughing, \nshe shoves it at Alvy who jerks backward, squeamishly.", "Allison and, Alvy are on the bed, kissing. There are books all over the room; \na fireplace, unlit, along one of the walls. Alvy suddenly breaks away and sits", "(As she talks, the lobster drops \n\t\t\tfrom the tray to the floor. Alvy \n\t\t\tjumps away, then gingerly scrapes", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "ALVY \n\t\tOh, yeah? Well, if she is, then the \n\t\thell with her! If she likes that", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing" ], [ "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Alvy touches the tie Annie is wearing around her neck.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ANNIE\n\t\tNo. \n\t\t\t(She turns and looks at Alvy, \n\t\t\tthen laughs) \n\t\tYou're a wreck.", "Annie, singing \"Seems Like Old Times, \" overlaps Alvy's speech and continues \nover the next scene, where Alvy, standing in front of a Manhattan theater,", "ANNIE \n\t\t\t(Looking for the first time at Alvy)" ], [ "Annie laughs, chatters.", "ANNIE \n\t\tOh, I don't know, I don't really. I \n\t\tdon't do it very often, you know, just \n\t\tsort of, er ... relaxes me at first.", "CUT TO:\n\nINT. BEDROOM-NIGHT \n\nAnnie is sitting up in bed reading.", "ANNIE\n \t\t\t\t(Laughing) \n\t\tM'hm. Yeah. Yeah.\n\nThe camera shows them sitting side by side relaxed on a bench.", "They're quiet for a moment, holding wine glasses and sipping. The sounds of \ndistant traffic from the street can be heard on the terrace. Annie, laughing, \nspeaks first.", "ANNIE \n\t\tNo, I'm fine.\n\nAs Annie speaks, her inner self (ghostlike, moves up from the bed and) sits \ndown on a chair, watching.", "He looks over at Annie.", "Alvy, reacting to the man's loud monologue, starts to get annoyed, while Annie \nbegins to read her newspaper.", "Annie, spotlighted onstage, stands in front of the microphone, smiling. She \nlooks downward and sings \"Seems Like Old Times. \" The audience applauds \nloudly as the music fades out.", "(He puts his arms around her neck, \n\t\t\tkissing her, Annie making muffled \n\t\t\tsounds)", "Annie, sitting cross-legged on a wooden chest in the bedroom, is browsing \nthrough a school catalogue. Alvy lies in bed reading.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "moves out of the room, hands close \n\t\t\tto his body. He walks into the \n\t\t\tother room, where Annie is sitting", "ANNIE \n\t\t\t(Moving back into the room and \n\t\t\tlighting a joint) \n\t\tIt relaxes me.", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "Tessie gyrates back and forth imitating a dancer while Annie and the adult \nAlvy lean on each other laughing.", "the car. Annie, excited, is taking the whole place in. Background voices \nsing Christmas carols.", "God, Annie. \n\t\t\t(She gestures with her hand) \n\t\tWell ... oh, well ... la-de-da, la-de-da,", "ANNIE \n\t\tJust forget it, Alvy, okay? Let's \n\t\tjust forget the conversation.\n\nShe closes the door, starts the motor.", "Alvy sits at the bar, clapping and staring at Annie as she walks over to him \nand sits down. The low murmur of the night club is surrounding them." ], [ "Annie bangs up and moves over to Alvy.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "Alvy and Annie sit close together on the sofa in some friends' apartment. \nTheir friends, another couple, stand behind the sofa in the background. \nExcited, they talk almost all at once.", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "And continue: Annie carrying her luggage and clothes into Alvy's bedroom, Alvy \nfollowing, the day she first moved into his apartment. Annie holding up her", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy, reacting to the man's loud monologue, starts to get annoyed, while Annie \nbegins to read her newspaper.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Annie gets into the cab; Alvy leans over and closes the door.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up." ], [ "Annie bangs up and moves over to Alvy.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy, reacting to the man's loud monologue, starts to get annoyed, while Annie \nbegins to read her newspaper.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "ANNIE\n \t\t\t\t(Shaking her head) \n\t\tNo.\n\nAlvy, disgusted, starts waving his hands and starts to move into the living \nroom.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "ALVY\n \t\t\t\t(To Annie's back, gesturing) \n\t\tWhy do you always bring that up? Because", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them." ], [ "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "Annie bangs up and moves over to Alvy.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat\nleaning forward so that his head is between them. They're driving down the \nhighway.", "The scene dissolves into a sequence from the animated Snow White and the Seven \nDwarfs. The Wicked Queen, resembling Annie, sits in the palace before her", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ANNIE\n \t\t\tM'hm.\n\n\t\t\t\tALVY\n\t\tThose are the two categories ...", "Alvy moves as close to the wall as \n\t\t\tpossible as Annie, covering her mouth \n\t\t\tand laughing hysterically, teasingly", "The younger, Annie and Jerry lean against the wall. Jerry is running his band \ndown Annie's bare arm. Annie and Alvy walk into the room, observing the younger\nAnnie, in jeans and T-shirt, with Jerry.", "ANNIE\n \t\t\tOh, yeah?\n\n\t\t\t\tALVY\n \t\t\tYeah.\n\n\t\t\t\tANNIE\n \t\t\tYeah?", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "Annie, wearing a flowered dress and wide hat, moves into view. Alvy,\nnoticing her, watches as she walks over to his table. He rises and they shake \nhands.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY\n\t\t- I ... I love you. \n\t\t\t(Over Annie's laughter)", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "ANNIE \n\t\tJust forget it, Alvy, okay? Let's \n\t\tjust forget the conversation.\n\nShe closes the door, starts the motor.", "ALVY \n\t\tOh, come, you don't need that.\n\nAlvy, sitting down on the bed, moves over to Annie and takes the weed from her.", "ANNIE\n \t\t\tM'hm.\n\n\t\t\t\tALVY \n\t\tAnd blind people, crippled ..." ], [ "Annie bangs up and moves over to Alvy.", "Annie, looking slightly distraught, goes to open the door to Alvy's knock.\n\n\t\t\t\tALVY \n\t\tWhat's- It's me, open up.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "ANNIE \n\t\tOh, yes, yes.\n\nAlvy, leaning his elbow on the table, looks out toward the camera.", "Alvy's and Annie's voices are heard over the wind-browned exterior of a beach \nhouse in the Hamptons. As they continue to talk, the camera moves inside the", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "ANNIE \n\t\t\t(Looking for the first time at Alvy)", "ALVY \n\t\tSure, I got ... I got nothing, uh, \n\t\tnothing till my analyst's appointment.\n\nThey move toward Annie's apartment building.", "Annie rushes out of the room to get her camera as Alvy picks up the paddle. \nTrying to get at the lobsters, he ends up knocking over dishes and hitting the", "Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking \nconcerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at \nit. Annie, in the background, is on the phone.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "The memories continue to flash on the screen: Annie and Alvy at a friend's \nhouse, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing", "ANNIE\n \t\t\t\t(Shaking her head) \n\t\tNo.\n\nAlvy, disgusted, starts waving his hands and starts to move into the living \nroom.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs." ], [ "ANNIE\n\t\tYeah.\n\nAlvy pulls her to him and they kiss again.\n\n\t\t\t\t\t\t\t\tCUT TO:", "ALVY \n\t\t\t(Waving to Annie) \n\t\tGo ahead. Good-bye. \n\nAnnie moves back to Alvy and takes his arm.", "Alvy and Annie shake hands and kiss each other friendly like. Annie crosses \nthe street, Alvy watching her go. Then he turns, and slowly walks down the \nstreet off screen. His voice is heard over the scene:", "Alvy and Annie walk contentedly down a street; Alvy's arm is draped around \nAnnie. People walk by them on the street as they move toward their apartment\nbuilding.", "Annie bangs up and moves over to Alvy.", "Alvy scratches his head, looking for Annie and trying not to notice the man. \nThe man, still staring, walks back to Alvy.", "A series of flashbacks following in quick succession while Annie continues to \nsing:\n\nAnnie and Alvy going up the FDR Drive, the day they met playing tennis, Annie \ndriving, Alvy bolding up partially eaten sandwich.", "Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the \ncar in gear, he inadvertently moves forward, hitting a bunch of trash cans with", "ANNIE\n \t\t\tYeah.\n\nAlvy raises up his head and they kiss.\n\nEXT. HIGHWAY", "INT. ALVY'S BED\n\nAlvy is lying in bed next to Annie, who is leaning on her elbow looking down \nat him. He rubs her arms and she smiles.", "Annie gets into the cab; Alvy leans over and closes the door.", "ALVY \n\t\tThis is the first book that I got you.\n\nAnnie goes over to Alvy. They both look down at the book; the fireplace, \nburning nicely, is behind them.", "ALVY\n\t\t- I ... I love you. \n\t\t\t(Over Annie's laughter)", "ALVY \n\t\tHey, don't be ridiculous.\n\nAlvy moves over to the bed and sits down next to Annie.", "Alvy, somewhat distraught, is following Annie around his apartment, which is \nfilled with boxes and suitcases, clothes and framed pictures. They both carry \ncartons.", "Alvy picks up his bag and moves toward the door. As he turns his bag around, \nthe handle of the tennis racket bits Annie between the legs.", "Alvy is at the sink washing dishes as the screen cuts to the scene of last \nmonth's argument. Annie's voice is heard.", "Returning to the present, the camera, focusing through the cafe window, shows \nAnnie and Alvy across street. They look about at the city traffic. Lunch is \nover; it's time.", "ANNIE \n\t\tHi.\n\nAlvy wipes at his nose as he stares. He smiles, the street traffic moving \nbehind him. Annie smiles back.", "ALVY\n \t\t\tTwo ... Yeah. Lotta, lotta trouble. \n\t\tThere's two of 'em. \n\nAlvy starts walking down the ball again, Annie following." ] ]

[ "Why do Alvy and Annie break up the first time?", "After Alvy and Annie break up for the second time how does Alvy try and get Annie back?", "Who was Alvy's second wife?", "How does Annie meet Alvy?", "Why does Alvy and Annie go to L.A.?", "What does Alvie and Annie decide on the return trip from Los Angeles?", "What does Alvy ask strangers about after his first break up with Annie?", "What was Alvy buying when Annie said that she loves him?", "Who does Alvy lose Annie to after they break up the second time?", "How many times has Alvy been married?", "How did Alvy meet Annie?", "What song did Annie sing as her audition for a night club?", "What kind of things does Alvy buy Annie when she admits she loves him?", "What play does Alvy cast himself in that Annie also stars in?", "After the break up, what does Annie call Alvy to come over to her house and do?", "Why do Alvy and Annie fly to Los Angeles?", "What does Alvy do as a last ditch effort to try and reconcile with Annie after returning from LA?", "Where do Alvy and Annie live?", "What kind of a meal do Annie and Alvy make together?", "How did Alvy meet Annie?", "What did Alvy talk to his mother about?", "What didn't Alvy's second wife like?", "What does Alvy tease Annie about?", "How did Annie relax?", "What happens when Alvy and Annie start living together?", "Why were Alvy upset with Annie?", "What happenned between Aly and Annie?", "Why did Annie ask Alvy to come to her house?", "What did Alvy do to win back Annie?" ]

[ [ "Alvy sees Annie walking with another man. ", "she was walking arm in arm with a professor" ], [ "He proposes.", "he proposes" ], [ "A New York writer.", "Annie" ], [ "While playing tennis.", "they are both in line for \"the Sorrow and the Pity\"" ], [ "Alvy is going to present an award to T.V..", "Alvy is presenting an award" ], [ "That their relationship is not working.", "Their relationship is a failure" ], [ "He asks about the nature of love. ", "the nature of love" ], [ "A book on death.", "Books about death" ], [ "Her record producer.", "Tony Lacey" ], [ "2", "Two" ], [ "playing tennis", "at a tennis match" ], [ "It had to be You", "It Had To Be You" ], [ "books about death", "Books on death" ], [ "Snow White", "snow white" ], [ "Kill a spider", "to kill a spider" ], [ "Alvy is presenting an award", "because Alvy accepts offer to present an award on tv" ], [ "he proposes", "He proposes" ], [ "New York", "ny" ], [ "lobster", "lobster" ], [ "They met while at a tennis game with friends.", "playing tennis" ], [ "He asked her questions about life and sex.", "his innocent sexual curiosty." ], [ "She had no interest in sports.", "sports" ], [ "He teases her about her choice of men she picks.", "the unusual men of her past" ], [ "Annie would use a joint to relax.", "with a joint" ], [ "Things changed and got uncomfortable.", "Their relationship is strained" ], [ "He saw Annie walking with another man arm in arm.", "He caught her with another man" ], [ "Annie and Alvy separated.", "They tried a couple of times to make it work, and it didn't" ], [ "She needed him to get rid of a spider.", "for wine on her balcony" ], [ "He asked her to marry him.", "He stages a play of their relationship" ] ]

[ [ "temperament which gave such peculiar charm to her personality. It was\nnot mere beauty--of which she had a plentiful share--nor yet altogether\nher wealth which attracted so many courtiers to her feet. Men who knew", "She compelled attention, she commanded admiration, through that very\nromanticism of hers which caused her eyes to glow at the recital of", "\"How wise of you, good Sir Marmaduke!\" quoth Mistress Pyncheon with a\nsigh of content.\n\nA sentiment obviously echoed in the hearts of a good many people there\npresent.", "with the ardor of the game, pleased undoubtedly with the adulation which\nsurrounded her on every side, she laughed and chatted with the men,", "\"A remarkable talent, good Sir Marmaduke,\" Dame Harrison was saying to\nher host, as she cast a complacent eye on her nephew, who had just", "beautiful young girl, rich, courted, surrounded by an army of\nsycophants, should be appealing to a poor dependent for friendship. \"I", "And in asking for that chaste salute we may assume that Master\nHymn-of-Praise was actuated with at least an equal desire to please\nMistress Charity, to gratify his own wishes, and to effectually annoy\nMaster Courage.", "He looked her up and down, realizing perhaps for the first time that she\nwas exquisitely beautiful; beautiful always, but more so now in the", "Her cheeks were glowing as she said this, and she looked quite defiant,\nas if challenging these disagreeable mothers and aunts of\nfortune-hunting youths to cast unpleasant aspersions on a friend whom\nshe had taken under her special protection.", "On the whole Mistress Charity was pleased with her own appearance. Sir\nMarmaduke de Chavasse and the mistress were seeing company this", "\"As for myself,\" now resumed Mistress Charity, after a slight pause,\nduring which she had felt Master Busy's admiring gaze fixed persistently", "Lambert had kept a constant eye on what went on around her husband's\ntable. \"He seems the only moneyed man amongst you all,\" she added with a", "He had seen Lady Sue standing beside a young man whose personality--to\nsay the least--was well-nigh as romantic as that of the exiled scion of", "He had seen and in his heart worshiped her for the heroic effort which\nshe made to remain outwardly calm, not to betray before a crowd the", "He eyed the flushed and excited throng with some amusement not wholly\nunmixed with contempt. Oh! he knew some of the faces well enough by", "\"Methinks her million will go to one of those young jackanapes who hang\nabout her,\" sighed Mistress de Chavasse, with almost as much bitterness\nas Sir Marmaduke had shown.", "\"Oh, no! My Lord Walterton is as keen as ever and Sir James Overbury\nwould brave the devil for a night at hazard. A message to them and we'll\nhave a crowd every night.\"", "rested on the pretty face and round figure of Mistress Charity that did\nnot necessarily tend to the glorification of the Lord.", "\"Our grasp of course, gracious lady,\" he said with a marked sneer, which\nshe affected to ignore. \"What is mine is yours. Am I not tied to the\nstrings of your kirtle by lasting bonds of infinite gratitude?\"", "The manner in which he received the news that unbeknown to him, he had\nbeen wooing one of the richest brides in the land, was characteristic of\nhim. He seemed boundlessly disappointed." ], [ "the disguise of the prince, and recognize the man who had so deeply\nwronged poor, unsuspecting Lady Sue. If only a kindly Fate had kept the", "Not a soul had pierced his disguise, and the identity of Prince Amédé\nd'Orléans was unknown even to his girl-wife.", "his simple, dull brain. Vaguely he guessed the purport of the disguise\nand of the lies, and the mention of Lady Sue's name was not an arrow", "Sue had thrown an appealing look at Squire Boatfield, when she saw that\ndismal cortège. Her husband, her prince! the descendant of the Bourbons,", "\"Nay! do you recognize your humble servant at last, fair Editha?\" he\nqueried. \"On my honor, madam, Lady Sue is deeply enamored of me. What\nthink you of my chances now?\"", "And he rose from his chair, picked up the perruque and false mustache\nwhich the other man had dropped upon the floor, and adjusting these on\nhis head and face he once more presented the appearance of the exiled\nOrléans prince.", "In anticipation of that last and magnificent _dénouement_, Sir Marmaduke\nhad once more donned the disguise of the exiled Orléans prince: the", "The unmasking of Prince Amédé d'Orléans before Sue had become legally\nhis wife was a possibility which Sir Marmaduke dared not even think of,", "\"My lady ... Sue,\" he said, feeling half-dazed, bruised and crushed by\nthe terrible moral blow, which he had just received, \"I ... I do not\nquite understand. Will you deign to explain?\"", "Lady Sue Aldmarshe had promised to marry her prince. She would keep her\nword, of that Sir Marmaduke was firmly convinced. But there would of", "... soon or late--who knows?--the little deception practiced on Lady Sue\nmay come to the light of day.... In that case, even if the marriage be", "\"Having now explained to Lady Sue Aldmarshe the terms of her noble\nfather's will,\" he said, \"methinks that she is ready to receive the", "He had seen Lady Sue standing beside a young man whose personality--to\nsay the least--was well-nigh as romantic as that of the exiled scion of", "CHAPTER XXVII\n\nLADY SUE'S FORTUNE", "He had staked his very existence on the success of his scheme. Lady\nSue's fortune was the one aim of his life, for it he had worked and", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "At first it seemed as if the stranger meant to beat a precipitate and\nnone too dignified retreat now that the adoring eyes of Lady Sue were no", "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "This had been the prince's first meeting with Sue, since that memorable\nday when the secret of their clandestine love became known to Lambert.", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace." ], [ "Thanet as a meeting place, wherein to discuss the mischief which they\nseverally intend to accomplish in sundry quarters later on, had been\nexceptionally active this day. The southwesterly hurricane had brought,", "This lonely, somewhat eerie corner of the park appeared to be the center\naround which all the mysterious happenings revolved, and Master", "They had spent the previous night at the Swan Inn in Fleet Street and\nthe day in visiting the beautiful sights of London, which caused the\nyoung lad from the country to open wide eyes in astonishment and\npleasure.", "Yes! it would have to be at Dover, for the neighboring villages might\nprove too dangerous. Sir Marmaduke might hear of it, mayhap. It would\nrest with her to free herself for one day.", "The smith, dressed in the elaborate accouterments of the mysterious\nFrench prince, now lay face upwards on the sand.\n\nThe tide was rapidly setting in. In less than half an hour it would\nreach this portion of the beach.", "The park was open here. The nearest trees were some fifty paces away,\nand in the ghostly darkness they could just perceive one another's", "CHAPTER XXXI\n\nTHE ASSIGNATION", "The bend behind that last group of elms should now reveal the outline of\nthe pavilion. Sir Marmaduke advanced more cautiously, for the trees here\nwere very close together.", "The old Quakeress and Richard were seemingly not alone. Two ladies sat\nin those same straight-backed chairs, wherein, some fifty hours ago Adam\nLambert and the French prince had agreed upon that fateful meeting on\nthe brow of the cliff.", "For this reason Sir Marmaduke had originally chosen Adam Lambert's\ncottage to be his headquarters; it stood on the very outskirts of the", "The Quakeress and Richard followed, going within in the wake of the six\nmen. The parlor was then empty, and thus it was that Adam Lambert\nfinally came home.", "Thus it was that these three met on the one spot where as a rule at a\nlate hour of the evening Prince Amédé d'Orléans was wont to commence his", "There was silence in the tiny cottage parlor as the young girl made this\nextraordinary announcement in a firm if toneless voice, without\nflinching and meeting with a sort of stubborn pride the five pairs of\neyes which were now riveted upon her.", "When Master Busy sought for tracks of imaginary criminals bent on\nabducting the heiress he naturally drifted to this lonely spot; when", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "Then only did she raise her head, and look about her. The hall was\ndeserted and seemed infinitely lonely, silent, and grim. The young", "When de Chavasse had entered, she had risen from her chair and, as if\ndeliberately, had walked over to the spot where she had stood during", "The squire in his turn now passed out of the little gate. The evening\nwas drawing in over-rapidly now, and it would be a long and dismal ride\nfrom here to Sarre.", "For that day at Dover now only seemed a dream. The hurried tramp to the\nmain road in a torrent of pouring rain: the long drive in the stuffy", "CHAPTER XVIII\n\nTHE TRAP" ], [ "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace.", "Therefore, Sir Marmaduke was chiefly conscious of Editha's presence,\nand then only of Sue.", "With the disappearance of that mysterious personage, Sir Marmaduke\nhaving realized Lady Sue's fortune, could resume life as an independent", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "Sir Marmaduke, after a slight pause, had contrived to utter an\noath--indicative of the wrath he, as Lady Sue's guardian, should have", "\"A remarkable talent, good Sir Marmaduke,\" Dame Harrison was saying to\nher host, as she cast a complacent eye on her nephew, who had just", "She spoke with obvious sarcasm, casting covert glances at Lady Sue to\nsee if she heard.\n\nSir Marmaduke shrugged his shoulders.", "Sir Marmaduke was the first to break the silence.\n\n\"My dear Sue,\" he said curtly, \"this is a strange place indeed wherein\nto find your ladyship.\"", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "and the rich daughter of the great Earl of Dover, that he never for a\nmoment resented Sir Marmaduke's sneers when they were directed against\nhis obvious, growing love for Sue.", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "Lady Sue Aldmarshe had promised to marry her prince. She would keep her\nword, of that Sir Marmaduke was firmly convinced. But there would of", "ladies, made sundry unfortunate attempts to enchain the attention of the\nheiress, his worthy mother turned with meek benignity to Sir Marmaduke.", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "Then he turned deliberately to Sir Marmaduke, once more bringing him\ninto the proceedings, and tacitly condemning her ladyship's\nextraordinary attitude towards his distinguished patron.", "great ladies and noble gentlemen, friends of his employer Sir Marmaduke\nde Chavasse. It seemed to him at once as if there was something here--in" ], [ "attention to the play of the two young men, for everyone was busy with\nhis own affairs. Play was general, the hour late. The wines had been\nheady, and all tempers were at fever pitch.", "The news of the police raid on a secret gambling club in London,\ntogether with the fracas which it entailed, had of necessity reached", "There was a cry of rage, followed by a cry of terror, then Master\nHymn-of-Praise Busy with a terrific clatter of breaking boughs, fell in\na heap upon the soft carpet of moss.", "The women shouted, the men swore. Some ran like frightened sheep to the\ndistant corners of the room, fearful lest they be embroiled in this", "Then in a noisy group in the rear came the three men still fighting for\nthe good graces of Lady Sue, whilst she, silent, absorbed, walked", "He cast a rapid glance all around. Segrave and Lambert--both flushed and\npanting--were forcibly held apart. Sir Marmaduke noted with a grim smile", "here--if discovered--would mean certain ruin to him. Even while he was\nmaking the effort to collect his scattered senses and to move from this\nfateful and dangerous spot, he saw the three men reappear in the", "The others on giving their word that they would appear before the Court\non the morrow, and answer to the charge preferred against them, were\npresently allowed to walk out of the room in single file between a", "The men apparently were all intent--either as actual participants or\nmerely as spectators--upon a form of amusement which His Highness the\nLord Protector had condemned as wanton and contrary to law.", "The women screamed, and like so many frightened hens, ran into the\ncorner of the room furthest out of reach of my Lord Protector's\npolice-patrol, the men immediately forming a bulwark in front of them.", "The whole thing was not very heroic perhaps. A few idlers caught in an\nillicit act and under threat of arrest. The consequences--of a", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "He threw himself with all the strength of a raving maniac upon Lambert,\nwho for the moment was taken unawares, and yielded to the suddenness of", "And while the two young men made a quick and not altogether successful\ndive for her ladyship's handkerchief, colliding vigorously with one", "\"Nay! 'tis nothing,\" he said with a harsh laugh as Master Mounce with an\nejaculation of deep concern ran round to him with a chair, whilst Squire", "After that first onrush, Lambert, with marvelous agility and quick\nknowledge of a hand-to-hand fight, had shaken himself free of his", "The struggle was violent and brief. Sir Marmaduke already felt himself\novermastered. Adam Lambert had taken him unawares. He was rough and very", "The other gentlemen got off fairly lightly with fines and brief periods\nof imprisonment. Young Segrave, so 'twas said, had been shipped to New", "He knew that in a hand-to-hand struggle with the feverish, emaciated\ntownsman, he, the country-bred lad, the haunter of woods and cliffs, the", "Perhaps in his innermost heart he was ashamed of his outburst. After\nall, he had taken this man's money, and had broken bread with him. His" ], [ "... soon or late--who knows?--the little deception practiced on Lady Sue\nmay come to the light of day.... In that case, even if the marriage be", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "Lady Sue Aldmarshe had promised to marry her prince. She would keep her\nword, of that Sir Marmaduke was firmly convinced. But there would of", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace.", "He had staked his very existence on the success of his scheme. Lady\nSue's fortune was the one aim of his life, for it he had worked and", "\"Nay! do you recognize your humble servant at last, fair Editha?\" he\nqueried. \"On my honor, madam, Lady Sue is deeply enamored of me. What\nthink you of my chances now?\"", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "\"My lady ... Sue,\" he said, feeling half-dazed, bruised and crushed by\nthe terrible moral blow, which he had just received, \"I ... I do not\nquite understand. Will you deign to explain?\"", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "his simple, dull brain. Vaguely he guessed the purport of the disguise\nand of the lies, and the mention of Lady Sue's name was not an arrow", "With the disappearance of that mysterious personage, Sir Marmaduke\nhaving realized Lady Sue's fortune, could resume life as an independent", "\"Having now explained to Lady Sue Aldmarshe the terms of her noble\nfather's will,\" he said, \"methinks that she is ready to receive the", "the disguise of the prince, and recognize the man who had so deeply\nwronged poor, unsuspecting Lady Sue. If only a kindly Fate had kept the", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "CHAPTER XXVII\n\nLADY SUE'S FORTUNE", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "She spoke with obvious sarcasm, casting covert glances at Lady Sue to\nsee if she heard.\n\nSir Marmaduke shrugged his shoulders.", "\"Sometimes they make love to their employer's daughter,\" retorted Dame\nHarrison spitefully, for Lady Sue was undoubtedly lending an ear to the", "\"Yes ... afterwards? ... when Sue has discovered how she has been\ntricked? ... Are you not afraid of what she might do? ... Even though" ], [ "into his bachelor establishment he called on his sister-in-law for the\npart of duenna.", "The rough idea which was to help him in his schemes had originated in\nEditha's brain, but already he had elaborated it; had seen in the plan a", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "As he told his sister-in-law a moment ago, he was at his last gasp. He\nhad perhaps just begun to realize that he would never succeed through", "brother-in-law's future altogether. Though she was an empty-headed,\nbrainless kind of woman, she was not by nature a wicked one. Necessity", "\"And I'll hesitate no longer,\" she interposed firmly. \"Let the lad there\nask me his dead brother's name and I'll tell him.... I'll tell him ...\nif he asks ...\"", "His manner changed; the saintliness vanished from his attitude; the\nexpression of his face became sly and knowing. He came nearer to\nCharity, took hold of her wrist, whilst he raised one finger to his\nlips.", "He saw before him the complete success of his nefarious plan, which had\noriginated in the active brain of Editha, but had been perfected in his", "Together the two young people were using gentle persuasion to get the\nold woman to the back room, whence she could not see the dreary scene", "passion and more of his plans, in which now she would have her full\nshare. He confided some of his schemes to her: they were somewhat vague\nand not easy to understand, but the manner in which he put them before", "But her share of the money she meant to have. She was tired of poverty,\ntired of planning and scheming, of debt and humiliation. She was tired", "Lambert, too, at sight of the cortège had gone to the Quakeress, the\nkind soul who had cared for him and his brother, two nameless lads,", "have never cared to dwell. His purpose was fixed. He had planned and\nthought it all out minutely, and he was surely not the man to flinch at\nthe execution of a project once he had conceived it.", "Now she had perforce to share her brother-in-law's poverty. At any rate\nhe provided a roof over her head. On the advent of Lady Sue Aldmarshe", "Even now, he looked sullen and disagreeable as, having exchanged a\nsignificant glance with his sister-in-law, he gave a comprehensive nod", "She was quite content for the moment with these vague promises: in her\nheart she was evolving enchanting plans for the future, when she would\nbe his helpmate in this great and mysterious work.", "\"I pray you, be of good cheer, fair Editha,\" he said quite gaily. \"Your\nplan is good and sound, and meseems as if the wench's fortune were\nalready within my grasp.\"", "\"Do not lose your head,\" he whispered as soon as she was near him and\nseeing the wild terror expressed in every line of her face. \"Slip into" ], [ "\"There lies one of thy sons,\" she said with the same relentless energy,\n\"the eldest, who should have been thy pride, murdered in a dark spot by", "Thy sons were honest, God-fearing men, but 'tis no thanks to thee. Thou\nalone hast heaped shame upon their dead father's name and hast contrived", "Her son had been murdered ... her eldest son whom she had never known,\nand she--involuntarily mayhap, compulsorily certes--had in a measure", "If he whom the villagers had called Adam Lambert was her son, Henry Adam\nde Chavasse, then Sir Marmaduke was the murderer of her child. All the", "his own infamy. He knew where the boys were, he helped to keep them away\nfrom their mother, so as to filch from them their present, and above", "sons, the living and the dead: for the one the foul dagger of an inhuman\nassassin, for the other shame and disgrace.", "CHAPTER XIX\n\nDISGRACE", "For a moment she stood wrathful and defiant, upright and stern like a\njusticiary between the dead son and the miserable woman, who of a truth\nwas suffering almost unendurable agony of mind and of heart.", "succeeded in performing that monstrous crime of parting this wretched\nwoman for twenty years from her sons.", "to wreak ruin on the sons who knew thee not.\"", "\"Thy brother's name was Henry Adam de Chavasse, and thine Michael\nRichard de Chavasse, sons of Rowland de Chavasse, and of the wanton who\nwas his wife.\"", "\"It means, my lad,\" she said, \"it means all of you ... that what I said\nwas true ... that Adam is innocent of crime ... for he lies here dead\n... and the Lord will see that his death shall not remain unavenged.\"", "\"De Chavasse,\" she murmured, her brain whirling, her heart filled not\nonly with an awful terror, but also with a great and overwhelming joy.\n\"My sons ... then I am ...\"", "his weeping mother, his stern father,--the disgrace, the irretrievable\npast.", "\"At first?\" he ejaculated in amazement, \"but surely ... hem ... the\nfaces ... your own sons, ma'am ...\"", "\"I will raise no difficulties in Sir Marmaduke's way,\" she rejoined,\n\"there is no doubt in my mind that my boys are dead, else I had had news\nof them ere this.\"", "for allowing himself to be murdered on their shores. Thanet itself had\nup to now enjoyed a fair reputation for orderliness and temperance, and\nthat one of her inhabitants should have been tempted to do away with", "The girl was in obvious, terrible distress: what she was feeling at this\nmoment when she was taking those around her into her confidence could be\nas nothing compared to what she must have endured when she first heard\nthe news that her strange bridegroom had been murdered.", "Therefore, after a brief rest, the murderer set to work again. A more\ngrim task yet! one from which of a truth more than one evil-doer would\nrecoil.", "She stooped, and deliberately raised the murdered man's hand in hers,\nand for one moment fixed her gaze upon it. For that one moment she was\nsilent, looking down at the rough fingers, the coarse nails, the\nblistered palm." ], [ "\"Passing strange ... passing sad,\" murmured Master Skyffington, shaking\nhis head, \"but methinks I recollect ... hem ... some six years ago ... a\nquest which led to a clew ... er ... that is ... two young gentlemen\n...\"", "The smith, dressed in the elaborate accouterments of the mysterious\nFrench prince, now lay face upwards on the sand.\n\nThe tide was rapidly setting in. In less than half an hour it would\nreach this portion of the beach.", "And yearning for her friend, she wondered what had become of him. The\nlast she had heard was toward the middle of October when Sir Marmaduke,", "The chronicles of the time tell us that the mysterious disappearance of\nSir Marmaduke de Chavasse was but a nine days' wonder in that great\nworld which lies beyond the boundaries of sea-girt Thanet.", "Some few years later when Lady Sue wrote those charming memoirs which\nare such an interesting record of her early life, she tried to note with", "Like her wedding in the dismal little church, this day of her birthday,\nof her independence, of her handing over her fortune to her husband for", "The girl was in obvious, terrible distress: what she was feeling at this\nmoment when she was taking those around her into her confidence could be\nas nothing compared to what she must have endured when she first heard\nthe news that her strange bridegroom had been murdered.", "Then at last one evening--it was late August then--when despair had\nbegun to grip her heart, and she herself had become the prey of vague", "Her entire childhood, her youth and maidenhood had gone by in silent and\nfanciful dreamings, whilst one of the greatest conflicts the world had", "CHAPTER XXXI\n\nTHE ASSIGNATION", "CHAPTER II\n\nON A JULY AFTERNOON", "£4,000 a year for her maintenance, until she came of age. A handsome\nfortune and stroke of good luck for a wise and prudent man:--a drop in", "They did not meet very often. Once a week at most. He had vaguely\npromised to tell her, some day, of his great work for the regeneration", "Thus it was that these three met on the one spot where as a rule at a\nlate hour of the evening Prince Amédé d'Orléans was wont to commence his", "They had spent the previous night at the Swan Inn in Fleet Street and\nthe day in visiting the beautiful sights of London, which caused the\nyoung lad from the country to open wide eyes in astonishment and\npleasure.", "For that day at Dover now only seemed a dream. The hurried tramp to the\nmain road in a torrent of pouring rain: the long drive in the stuffy", "PART III\n\n\n\n\nCHAPTER XXI\n\nIN THE MEANWHILE", "There was silence in the tiny cottage parlor as the young girl made this\nextraordinary announcement in a firm if toneless voice, without\nflinching and meeting with a sort of stubborn pride the five pairs of\neyes which were now riveted upon her.", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "CHAPTER XVIII\n\nTHE TRAP" ], [ "An exile from France, a prince who hides his identity and his person in\na remote Kentish village, and a girl with a highly imaginative", "They had spent the previous night at the Swan Inn in Fleet Street and\nthe day in visiting the beautiful sights of London, which caused the\nyoung lad from the country to open wide eyes in astonishment and\npleasure.", "From the little village of Acol beyond the wood, came the sound of the\nchurch bell striking the hour of nine. Sue was silent and absorbed,", "Then at last one evening--it was late August then--when despair had\nbegun to grip her heart, and she herself had become the prey of vague", "great black mass, blacker than the surrounding gloom. That had been her\nhome for many years now, ever since her youth and sprightliness had", "Her entire childhood, her youth and maidenhood had gone by in silent and\nfanciful dreamings, whilst one of the greatest conflicts the world had", "For that day at Dover now only seemed a dream. The hurried tramp to the\nmain road in a torrent of pouring rain: the long drive in the stuffy", "Like her wedding in the dismal little church, this day of her birthday,\nof her independence, of her handing over her fortune to her husband for", "The Quakeress and Richard followed, going within in the wake of the six\nmen. The parlor was then empty, and thus it was that Adam Lambert\nfinally came home.", "For this reason Sir Marmaduke had originally chosen Adam Lambert's\ncottage to be his headquarters; it stood on the very outskirts of the", "The smith, dressed in the elaborate accouterments of the mysterious\nFrench prince, now lay face upwards on the sand.\n\nThe tide was rapidly setting in. In less than half an hour it would\nreach this portion of the beach.", "CHAPTER II\n\nON A JULY AFTERNOON", "The hour was three in the afternoon. Outside a glorious July sun spread\nradiance and glow over an old-fashioned garden, over tall yew hedges,", "Sir Marmaduke was away. In London or Canterbury, she could not say, but\nshe had scarcely seen him since that terrible time, when he came back\nfrom town having left Richard Lambert languishing in disgrace and in\nprison.", "This lonely, somewhat eerie corner of the park appeared to be the center\naround which all the mysterious happenings revolved, and Master", "The old Quakeress and Richard were seemingly not alone. Two ladies sat\nin those same straight-backed chairs, wherein, some fifty hours ago Adam\nLambert and the French prince had agreed upon that fateful meeting on\nthe brow of the cliff.", "\"I give thee assurance, Master Busy,\" concluded the young girl, \"that\nthe county of Kent no longer suits my constitution. 'Tis London for me,\nand thither will I go next year.\"", "And then he turned to go. She meant to stand there and watch him cross\nthe tangled lawn, and the little bridge, and to see him lose himself\namidst the great shadows of the park.", "He had been waiting for her inside the church, and seemed impatient\nwhen she arrived. No one had helped her to alight from the rickety\nchaise, and she had to run in the pouring rain, through the miserable\nand deserted churchyard.", "And in one of the attics at the top of the now silent and lonely house\nin Bath Street--lately the scene of so much gayety and joy, of such" ], [ "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "In absolute contrast to him, Sir Marmaduke looked wonderfully calm and\ntidy. In answer to the other man's eager look of inquiry, he made\npretense of fumbling in his pockets, as he said quietly:", "\"Money and securities?\" ejaculated Sir Marmaduke with a loud oath, which\nhe contrived to bring forth with the violence of genuine wrath, \"Money\nand securities? ... Forsooth, I trust ...\"", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "himself which would of necessity redound against Sir Marmaduke also?", "Not so this bold schemer, this mad worshiper of money and of self.\nEverything! anything for the safety of Sir Marmaduke de Chavasse, for\nthe peaceful possession of £500,000.", "Sir Marmaduke de Chavasse, however, had not yet accomplished all that he\nmeant to do. He knew that the sea-waves had a habit of returning that", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "as Sir Marmaduke had done, and after it the peremptory knocks, the loud\ncall, the word of command, followed by the sound of an awed and\nsupplicating voice, entering a feeble protest.", "cliffs. Either eventuality would suit Sir Marmaduke admirably, and he\nsighed with satisfaction at the thought that the knot between the\nheiress and himself was indeed tied sufficiently firm now to ensure her", "Then he turned deliberately to Sir Marmaduke, once more bringing him\ninto the proceedings, and tacitly condemning her ladyship's\nextraordinary attitude towards his distinguished patron.", "\"I thank you, no!\" replied Sir Marmaduke, striving to master his\nhabitual ill-humor and to speak pleasantly. \"My luck hath long since", "\"Will it not keep?\" said Sir Marmaduke.\n\n\"Yes, an you wish it, Sir. I fear I have intruded. I did not know you\nwere busy.\"", "would be rich and passing rich, and he knew that he ran but little risk\nof detection. The girl was young, inexperienced and singularly\nfriendless: Sir Marmaduke felt convinced that none of the foreign", "\"You should speak to him, good Sir Marmaduke,\" said Dame Harrison\ndecisively, \"you are a magistrate. 'Tis your duty to know more of this\nfellow and his antecedents.\"", "Sir Marmaduke de Chavasse slowly rose to his feet. His knees were still\nshaking under him, and there was a nervous tremor in his jaw and in his\nwrists which he tried vainly to conquer.", "Sir Marmaduke had, of course, the fullest details concerning the affair,\nfor he himself owned to having been present in the very house where the", "\"I fear me his lordship will be disappointed,\" she rejoined, quite\nheedless of the little attorney's perturbation, \"and that under these\ncircumstances Sir Marmaduke will surely succeed.\"", "No one wished to disturb them; no one but Sir Marmaduke, and with him it\nwas once again that morbid access of curiosity, the passionate, intense\ndesire to know and to probe every tiny detail in connection with his own\ncrime." ], [ "\"Sue! my beautiful and worshiped lady,\" he cried impassionedly, \"I\nentreat you to look into my eyes! ... Can you see in them the reflex of", "of Sue. Therefore he boldly took her hand and kissed it with mute\nfervor.", "\"My gracious lady ... my beautiful Sue ...\" he murmured whilst he\ncovered her hands, her brow, her hair with ardent kisses, \"you have come\nso late--and I have been so weary of waiting ... waiting for you.\"", "But even while he spoke, Sue--not heeding him--had turned to Squire\nBoatfield. She went up to him, holding out her hands as if in\ninstinctive childlike appeal for protection, to a kindly man.", "\"Sue--my little, beautiful Sue,\" he murmured, himself astonished at his\nown temerity in thus daring to address her. It was her grief which had", "\"Sue! my adored lady,\" he entreated, \"in the name of Heaven listen to\nme.... You do believe, do you not, that I am your friend? ... I would", "There was a watch-dog at Sue's heels, stern, alert, unyielding. Richard\nLambert was probing the secret of the mysterious prince, with the\nunerring eye of the disappointed lover.", "\"Sue hath such a romantic temperament,\" he said dryly, speaking between\nhis teeth and as if with an effort. \"Lambert's humble origin has fired", "The young man, all the while that he approached, had not taken his eyes\noff Lady Sue. Twice he had stumbled against rough bits of root or branch", "A great wave of thankfulness came over him that, his gracious\nlady--innocent, tender, beautiful Lady Sue, had not come to London with", "Sue bent her head down upon her hands, her lips touched her own fingers\nthere where her friend's had rested in gratitude and love, and she", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "In spite of her present disbelief in his love, in spite of the bitter\nknowledge that her own had waned, Sue had no misgivings as yet as to the", "Apparently she had started out with Sue in his immediate wake, and now\nhe had a distinct recollection that while the mare was slowly ambling\nalong, he had looked back once or twice and seen two dark figures", "Then in a noisy group in the rear came the three men still fighting for\nthe good graces of Lady Sue, whilst she, silent, absorbed, walked", "Sue had thrown an appealing look at Squire Boatfield, when she saw that\ndismal cortège. Her husband, her prince! the descendant of the Bourbons,", "\"By the heaven above us, Sue, by all my hopes of salvation I swear to\nyou that my love is pure and selfless,\" he murmured tenderly, all the", "At first it seemed as if the stranger meant to beat a precipitate and\nnone too dignified retreat now that the adoring eyes of Lady Sue were no", "The kindly squire, though admitting the guardian's wrath, thought that\nits violent expression was certainly ill-timed. He allowed Sue to", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace." ], [ "He knew--somewhat vaguely perhaps, yet with some degree of\ncertainty--that gambling was an illicit pastime, and that therefore\nhe--by sitting at this table with these gentlemen, was deliberately\ncontravening the laws of his country.", "The men apparently were all intent--either as actual participants or\nmerely as spectators--upon a form of amusement which His Highness the\nLord Protector had condemned as wanton and contrary to law.", "Now Sir Marmaduke cursed himself and his folly for having made this\narrangement. He had not known--when he made it--that Richard would be", "helped him towards its success by luring her other son Richard to that\nvile gambling den where he had all but lost his honor, or else his\nreason.", "Sir Marmaduke de Chavasse, who was watching the young man with febrile\nkeenness, had the satisfaction to note that very soon Richard began to", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "my brother Richard even before the church clock of Acol hath sounded the\nhour of midnight.\"", "But those words once uttered, Richard felt that he could not now draw\nback. The jealously-guarded secret had escaped his lips, passion refused", "stolen into the house in the small hours of the morning he had seen\nRichard Lambert leaning out of one of the windows which gave upon the\npark.", "\"Richard ... good Richard,\" she said soothingly, \"believe me, I am very,\nvery sorry for this.... I ... I vow I did not know.... I had no", "\"It is sure to break the bank in time,\" he said confidently, \"I am for\ngoing to Paris where play runs high, and need not be carried on in this\nhole and corner fashion to suit cursed Puritanical ideas.\"", "Of course he disapproved of what he did: he would not have been the\nPuritanically trained, country-bred lad that he was, if he had accepted", "The coast would be clear then. Richard had met Sue in the park: no\ndoubt he would hold her a few moments in conversation. The schemer cared", "answer for my offense of playing cards, which apparently, is an illicit\npastime. I am one of the pigeons who have been plucked in this house.\"", "\"No, kind Richard,\" she said gently, \"I will not speak to you of the\nprince. I know that you do not think well of him.... I wish to look upon", "\"Nay! but I'll not be silent,\" quoth Richard unperturbed. \"I have been\ncondemned ... and I have the right to speak.... You have disgraced me", "What the old Quakeress thought and felt, what Richard--the\nbrother--feared and conjectured was easy for Sir Marmaduke to guess: for", "Her eyes--pale and dim, heavy-lidded and deeply-lined--rested often on\nthe face of Richard Lambert, who, leaning against the corner of the", "She had no thought that Richard Lambert would be on the watch. Nay! so\nwholly absorbed was she in her love for this man, once she was in his", "rules ... or mayhap, my brother Richard who is no friend of thine,\nforsooth.\"" ], [ "But those words once uttered, Richard felt that he could not now draw\nback. The jealously-guarded secret had escaped his lips, passion refused", "Now Sir Marmaduke cursed himself and his folly for having made this\narrangement. He had not known--when he made it--that Richard would be", "\"Justice must be done against Adam's murderer, dear mistress,\" said\nRichard gently, for the old woman had paused and turned to him,", "In obedience to the quaint peremptoriness of her manner, Richard had\nclosed the outer door, and drawn the chair forward, asking Mistress de", "helped him towards its success by luring her other son Richard to that\nvile gambling den where he had all but lost his honor, or else his\nreason.", "Sir Marmaduke de Chavasse, who was watching the young man with febrile\nkeenness, had the satisfaction to note that very soon Richard began to", "\"Nay! but I'll not be silent,\" quoth Richard unperturbed. \"I have been\ncondemned ... and I have the right to speak.... You have disgraced me", "\"Richard ... good Richard,\" she said soothingly, \"believe me, I am very,\nvery sorry for this.... I ... I vow I did not know.... I had no", "after an instant's hesitation, and in response to an appealing look from\nRichard, he broke the string which held the documents together and\nperused them one by one.", "rules ... or mayhap, my brother Richard who is no friend of thine,\nforsooth.\"", "He would have seized the Quakeress by the arm in order to force her\nback, but Richard Lambert already stood between her and him.\n\n\"Let no one dare to lay a hand on her,\" he said quietly.", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "\"No, no,\" she rejoined earnestly, \"it is not that only. You are my\nfriend, good Richard, and I do not wish to see you eating out your heart", "There was such passionate earnestness in the old woman's words that\neveryone else remained dumb. Richard, whose heart was filled with dread,", "\"Nay! what you say, kind Richard, fills me with dread,\" said Sue after a\nlittle pause. \"I am glad ... glad that you have come back.... For some", "Speak man!\" she said, as she suddenly disengaged herself from Richard's\nrestraining arms and walked deliberately up to Marmaduke de Chavasse,\n\"speak man.... Didst thou accuse Adam?\"", "but come with me quietly to answer on the morrow before Judge Parry, a\ncharge of contravening the laws against betting and gambling.\"", "my brother Richard even before the church clock of Acol hath sounded the\nhour of midnight.\"", "This estimate of his employer's character Richard Lambert had not felt\nany cause to modify. He continued to serve him faithfully, to look after", "\"Methinks you owe me a hundred pounds,\" replied Richard, who seemed\nstrangely calm in the very midst of this inexplicable and volcanic" ], [ "... soon or late--who knows?--the little deception practiced on Lady Sue\nmay come to the light of day.... In that case, even if the marriage be", "\"Yes ... afterwards? ... when Sue has discovered how she has been\ntricked? ... Are you not afraid of what she might do? ... Even though", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "\"I don't understand you.\"\n\n\"Yet, 'tis simple enough. Sue is my wife.\"\n\n\"Your wife! ...\" she exclaimed.", "Sue had thrown an appealing look at Squire Boatfield, when she saw that\ndismal cortège. Her husband, her prince! the descendant of the Bourbons,", "\"Hush! An you want to scream, I pray you question me not, for what I say\nis bound to startle you. Sue is my wife. I married her, having obtained", "Lady Sue Aldmarshe had promised to marry her prince. She would keep her\nword, of that Sir Marmaduke was firmly convinced. But there would of", "of Sue. Therefore he boldly took her hand and kissed it with mute\nfervor.", "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "Sue had gone out of his sight, desirous apparently of turning her back\non him forever. He was free and rich. The game had been risky, daring", "\"We know too much of one another, my dear Editha, not to trust each\nother.\"\n\n\"My whole future depends on you. I am penniless. If you marry Sue....\"", "\"Then we'll all to bed, fair mistress,\" rejoined Sue gayly. She was too\nhappy, too sure of herself and of her lover to view this sudden", "\"My lady ... Sue,\" he said, feeling half-dazed, bruised and crushed by\nthe terrible moral blow, which he had just received, \"I ... I do not\nquite understand. Will you deign to explain?\"", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "\"Nay! do you recognize your humble servant at last, fair Editha?\" he\nqueried. \"On my honor, madam, Lady Sue is deeply enamored of me. What\nthink you of my chances now?\"", "To-night she had promised to marry him secretly--to surrender herself\nbody and soul to this man whom she hardly knew, whom she had never", "With the disappearance of that mysterious personage, Sir Marmaduke\nhaving realized Lady Sue's fortune, could resume life as an independent", "He had staked his very existence on the success of his scheme. Lady\nSue's fortune was the one aim of his life, for it he had worked and" ], [ "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "She had known of Marmaduke's monstrous fraud on the confiding girl whom\nhe now so callously abandoned to her fate. She had known of it and", "\"You should speak to him, good Sir Marmaduke,\" said Dame Harrison\ndecisively, \"you are a magistrate. 'Tis your duty to know more of this\nfellow and his antecedents.\"", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "Sir Marmaduke had, of course, the fullest details concerning the affair,\nfor he himself owned to having been present in the very house where the", "\"This is an infamous plot,\" he said calmly, but very firmly. \"Sir\nMarmaduke de Chavasse,\" he added, turning to face his employer, who", "\"Over well, good Sir Marmaduke,\" said Master Mounce, as he stooped to\nthe ground. From underneath the table he now drew forth a glass and a", "In absolute contrast to him, Sir Marmaduke looked wonderfully calm and\ntidy. In answer to the other man's eager look of inquiry, he made\npretense of fumbling in his pockets, as he said quietly:", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "as Sir Marmaduke had done, and after it the peremptory knocks, the loud\ncall, the word of command, followed by the sound of an awed and\nsupplicating voice, entering a feeble protest.", "\"I fear me his lordship will be disappointed,\" she rejoined, quite\nheedless of the little attorney's perturbation, \"and that under these\ncircumstances Sir Marmaduke will surely succeed.\"", "and roused dormant indignation to fever pitch. One look at Sir\nMarmaduke's sneering face had told him not only that he could expect no", "SURRENDER\n\n\nBut this interview with the inimical Quaker had more than strengthened\nSir Marmaduke's design to carry his bold scheme more rapidly to its\nsuccessful issue.", "slightest doubt but that Lambert was guilty. Satisfied, therefore, that\nall had gone according to his own wishes, Sir Marmaduke withdrew from", "No one wished to disturb them; no one but Sir Marmaduke, and with him it\nwas once again that morbid access of curiosity, the passionate, intense\ndesire to know and to probe every tiny detail in connection with his own\ncrime.", "great ladies and noble gentlemen, friends of his employer Sir Marmaduke\nde Chavasse. It seemed to him at once as if there was something here--in", "But Adam--dead--had now to play a part in the grim comedy which Sir\nMarmaduke de Chavasse had designed for his own safety, and the more\nassured success of all his frauds and plans.", "would be rich and passing rich, and he knew that he ran but little risk\nof detection. The girl was young, inexperienced and singularly\nfriendless: Sir Marmaduke felt convinced that none of the foreign", "Marmaduke took me to that house of evil, and a cruel plot was there\nconcocted to make me appear before all men as a liar and a cheat, and to" ], [ "Now Sir Marmaduke cursed himself and his folly for having made this\narrangement. He had not known--when he made it--that Richard would be", "\"Justice must be done against Adam's murderer, dear mistress,\" said\nRichard gently, for the old woman had paused and turned to him,", "\"Richard ... good Richard,\" she said soothingly, \"believe me, I am very,\nvery sorry for this.... I ... I vow I did not know.... I had no", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "Sir Marmaduke de Chavasse, who was watching the young man with febrile\nkeenness, had the satisfaction to note that very soon Richard began to", "\"Nay! but I'll not be silent,\" quoth Richard unperturbed. \"I have been\ncondemned ... and I have the right to speak.... You have disgraced me", "In obedience to the quaint peremptoriness of her manner, Richard had\nclosed the outer door, and drawn the chair forward, asking Mistress de", "She had no thought that Richard Lambert would be on the watch. Nay! so\nwholly absorbed was she in her love for this man, once she was in his", "\"Nay! what you say, kind Richard, fills me with dread,\" said Sue after a\nlittle pause. \"I am glad ... glad that you have come back.... For some", "Fortunately before the small cortège bearing the gruesome burden had\narrived at the cottage, young Richard Lambert had succeeded in making\nthe old woman understand what was expected of her.", "\"Yes, Richard, I promise.... Good-bye.\"", "helped him towards its success by luring her other son Richard to that\nvile gambling den where he had all but lost his honor, or else his\nreason.", "\"Methinks you owe me a hundred pounds,\" replied Richard, who seemed\nstrangely calm in the very midst of this inexplicable and volcanic", "The coast would be clear then. Richard had met Sue in the park: no\ndoubt he would hold her a few moments in conversation. The schemer cared", "But those words once uttered, Richard felt that he could not now draw\nback. The jealously-guarded secret had escaped his lips, passion refused", "Sir Marmaduke was away. In London or Canterbury, she could not say, but\nshe had scarcely seen him since that terrible time, when he came back\nfrom town having left Richard Lambert languishing in disgrace and in\nprison.", "She checked the movement as well as the cry, but not before Richard\nLambert had perceived both.", "\"Nay, then she should be shown the clothes and effects.... And, if I\nmistake not, there's Richard Lambert, my late secretary, has he laid\nsworn information about the man?\"", "Sir Marmaduke had been peculiarly gracious, even taking Richard with him\nto the Frenchman's house in Queen's Head Alley, where that curious" ], [ "CHAPTER III\n\nTHE EXILE", "yourself. He was exiled from France by King Louis for political reasons,\nso he explained to the old woman Lambert, with whom he is still lodging.\nI understand that he hardly ever sleeps at the cottage, that his", "he is exiled from his country whilst a price is set upon his head,\nbecause he cannot be mute whilst he sees tyranny and oppression grind", "\"Detained,\" he rejoined harshly, \"detained by someone else ... someone\nwho had a greater claim on your time than the poor exile ...\"", "An exile from France, a prince who hides his identity and his person in\na remote Kentish village, and a girl with a highly imaginative", "In the meanwhile she was satisfied to live in the present, to console\nand comfort the noble exile, to lavish on him the treasures of her young", "\"Oh! ah! yes!\" quoth Sir Marmaduke lightly, \"the interesting exile from\nthe Court of King Louis. I did not know that his fame had reached you,\nmistress.\"", "He understood. She only would denounce him if he stayed. She wished him\nno evil, only desired him out of her sight. He tried to say something\nflippant, something cruel and sneering, but she stopped him with a\nperemptory gesture.", "\"And so the exiled prince lodged in your cottage, mistress?\" said\nSquire Boatfield, after a while, turning to Mistress Lambert.", "She paused, and he concluded the sentence for her:\n\n\"That I was not to be allowed inside his house.... Was that it?\"\n\n\"Alas! yes, good master.\"", "\"It is good-bye,\" he rejoined calmly.\n\n\"Mayhap that I shall go abroad soon,\" she said.\n\n\"With that man?\"", "already sacrificed fortune, position, home. Of his own brilliant past at\nthe most luxurious court the world had ever known. He fired her\nenthusiasm, delighted her imagination, enchained her soul to his: she", "\"Why yes! forsooth!\" he retorted grimly, \"Sue's sentimental fancy for\nthe romantic exile hath gone the way of all such unreasoning", "prison, and was only discharged because they feared that he would die.\nHe contrived to work or beg his way back here, and now he is staying in\nthe village.... I thought you would have heard.\"", "\"What do you mean?\" she asked trembling.\n\n\"That I must go,\" he replied simply, \"since you do not love me....\"", "He threw down the lantern first, which was extinguished as it fell. Then\nhe took the final jump, and soon lay half-unconscious, numbed and aching\nin every limb in the wet sand.", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "CHAPTER XLII\n\nTHE RETURN", "In anticipation of that last and magnificent _dénouement_, Sir Marmaduke\nhad once more donned the disguise of the exiled Orléans prince: the", "Oh! what an immeasurable fool she had been, how she had been tricked and\nfooled all these years by the man who two days ago had put a crown upon" ], [ "In anticipation of that last and magnificent _dénouement_, Sir Marmaduke\nhad once more donned the disguise of the exiled Orléans prince: the", "In absolute contrast to him, Sir Marmaduke looked wonderfully calm and\ntidy. In answer to the other man's eager look of inquiry, he made\npretense of fumbling in his pockets, as he said quietly:", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "But the laughter suddenly died on her lips and the merriment out of her\neyes. A dull, tired voice had just said feebly:\n\n\"Is Sir Marmaduke de Chavasse within?\"", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "\"Over well, good Sir Marmaduke,\" said Master Mounce, as he stooped to\nthe ground. From underneath the table he now drew forth a glass and a", "as Sir Marmaduke had done, and after it the peremptory knocks, the loud\ncall, the word of command, followed by the sound of an awed and\nsupplicating voice, entering a feeble protest.", "\"I thank you, no!\" replied Sir Marmaduke, striving to master his\nhabitual ill-humor and to speak pleasantly. \"My luck hath long since", "Sir Marmaduke broke into a loud and prolonged laugh.", "The mist of the night had yielded to an icy drizzle, but Sir Marmaduke\ncould not remain within. His footsteps guided him in the direction of", "Then he turned deliberately to Sir Marmaduke, once more bringing him\ninto the proceedings, and tacitly condemning her ladyship's\nextraordinary attitude towards his distinguished patron.", "great ladies and noble gentlemen, friends of his employer Sir Marmaduke\nde Chavasse. It seemed to him at once as if there was something here--in", "Five minutes later Sir Marmaduke de Chavasse, clad in thick dark doublet\nand breeches and wearing a heavy cloak, once more descended the stairs", "contact with a cottage floor. But Sir Marmaduke struggled violently\nstill. He had been wiser no doubt, to take the humiliation quietly, to", "\"You? ... You? ... Sir Marmaduke de Chavasse! ... Oh! my God! ...\"", "His grip on his enemy had, of course, relaxed. Sir Marmaduke was able to\nstruggle to his feet. Fate had dealt him a blow as unexpected as it was", "Sir Marmaduke de Chavasse slowly rose to his feet. His knees were still\nshaking under him, and there was a nervous tremor in his jaw and in his\nwrists which he tried vainly to conquer.", "CHAPTER XXXIV\n\nAFTERWARDS\n\n\nSir Marmaduke de Chavasse cursed the weather and cursed himself for\nbeing a fool.", "\"That reluctance of yours, my good Lambert, seems to have been a pretty\ncomedy forsooth,\" replied Sir Marmaduke lightly, \"and you played to some" ], [ "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "Instinctively now Sue had risen. Sir Marmaduke's cruel laugh had grated\nhorribly on her ear, rousing an echo in her memory which she could not", "Sir Marmaduke was the first to break the silence.\n\n\"My dear Sue,\" he said curtly, \"this is a strange place indeed wherein\nto find your ladyship.\"", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "With the disappearance of that mysterious personage, Sir Marmaduke\nhaving realized Lady Sue's fortune, could resume life as an independent", "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "Sir Marmaduke, after a slight pause, had contrived to utter an\noath--indicative of the wrath he, as Lady Sue's guardian, should have", "She spoke with obvious sarcasm, casting covert glances at Lady Sue to\nsee if she heard.\n\nSir Marmaduke shrugged his shoulders.", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace.", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "But the laughter suddenly died on her lips and the merriment out of her\neyes. A dull, tired voice had just said feebly:\n\n\"Is Sir Marmaduke de Chavasse within?\"", "Therefore, Sir Marmaduke was chiefly conscious of Editha's presence,\nand then only of Sue.", "Then he turned deliberately to Sir Marmaduke, once more bringing him\ninto the proceedings, and tacitly condemning her ladyship's\nextraordinary attitude towards his distinguished patron.", "Sir Marmaduke lingered behind for a while, of set purpose: he had no\nwish to walk beside either Editha or Lady Sue, so he took some time in", "as Sir Marmaduke had done, and after it the peremptory knocks, the loud\ncall, the word of command, followed by the sound of an awed and\nsupplicating voice, entering a feeble protest.", "She had known of Marmaduke's monstrous fraud on the confiding girl whom\nhe now so callously abandoned to her fate. She had known of it and" ], [ "She had no thought that Richard Lambert would be on the watch. Nay! so\nwholly absorbed was she in her love for this man, once she was in his", "The presence of Richard Lambert, his humble devotion, his whole-hearted\nsympathy and the occasional moments of conversation which she had with", "He would have seized the Quakeress by the arm in order to force her\nback, but Richard Lambert already stood between her and him.\n\n\"Let no one dare to lay a hand on her,\" he said quietly.", "remained keen. To this coterie of avowed Republicans, young Richard\nLambert--secretary or what-not to Sir Marmaduke, a paid dependent at any", "Her eyes--pale and dim, heavy-lidded and deeply-lined--rested often on\nthe face of Richard Lambert, who, leaning against the corner of the", "This estimate of his employer's character Richard Lambert had not felt\nany cause to modify. He continued to serve him faithfully, to look after", "lordship's notice the young student--so long known as Richard\nLambert--who, of a truth, was sole heir to the earldom and to its\nmagnificent possessions and dependencies.", "Against all that, it is necessary to note that Richard Lambert took two\nmatters very much in earnest: first, his position as a paid dependent;\nsecond, his gratitude to Sir Marmaduke de Chavasse.", "Fortunately before the small cortège bearing the gruesome burden had\narrived at the cottage, young Richard Lambert had succeeded in making\nthe old woman understand what was expected of her.", "Behind him, Richard Lambert had quietly closed the front door; the old\nwoman stood in the background; the dusting-cloth which she had been", "The voice was that of Richard Lambert.", "honor ... He is young ... and ... and he misunderstands.... You see, my\ngood Lambert,\" he added, once more turning to the young man, and still", "\"Of course I know my brother,\" retorted Richard Lambert boldly, \"and can\nbut curse mine own cowardice in not defending him ere this.\"", "country bumpkin like myself ... and you see I have presumed on your\nlavish hospitality and brought my young friend, Master Richard Lambert,\nto whom you extended so gracious an invitation.\"", "Sue's eyes were fixed steadily upon her guardian, and Richard Lambert's\nupon her. Both these young people who had carved their own Fate in the", "There is no doubt that but for the advent of that mysterious personality\ninto Acol village, the deep friendship which had grown in Sue's heart\nfor Richard Lambert would have warmed into a more passionate attachment.", "Richard Lambert had begged that the coffin might be taken into the\ncottage. The old woman's co-religionists would help her to obtain for\nAdam fitting and Christian burial.", "\"Young Lambert is a bookworm, your Honor,\" suggested Pyot, who was keen\non the business, seeing that his zeal, if accompanied by success, would", "Mistress Lambert, would lose a pleasant home, and you would never know\nwhat you and your brother Richard have vainly striven to find out these\npast ten years.\"", "He turned to Lambert, who a little dazed to find himself in such\nbrilliant company, had somewhat timidly kept close to the heels of his" ], [ "\"Sue--my little, beautiful Sue,\" he murmured, himself astonished at his\nown temerity in thus daring to address her. It was her grief which had", "\"My gracious lady ... my beautiful Sue ...\" he murmured whilst he\ncovered her hands, her brow, her hair with ardent kisses, \"you have come\nso late--and I have been so weary of waiting ... waiting for you.\"", "of Sue. Therefore he boldly took her hand and kissed it with mute\nfervor.", "CHAPTER XXIX\n\nGOOD-BYE\n\n\n\"Sue!\"", "\"Sue! my beautiful and worshiped lady,\" he cried impassionedly, \"I\nentreat you to look into my eyes! ... Can you see in them the reflex of", "\"My lady ... Sue,\" he said, feeling half-dazed, bruised and crushed by\nthe terrible moral blow, which he had just received, \"I ... I do not\nquite understand. Will you deign to explain?\"", "Her head full of romantic nonsense! Well! perhaps that was the true\nkeynote of Sue's character; perhaps, too, it was that same romantic", "\"Sue hath such a romantic temperament,\" he said dryly, speaking between\nhis teeth and as if with an effort. \"Lambert's humble origin has fired", "But even while he spoke, Sue--not heeding him--had turned to Squire\nBoatfield. She went up to him, holding out her hands as if in\ninstinctive childlike appeal for protection, to a kindly man.", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "where, and a plethora of unspoken grievances, have all proved a sure\npassport to Lady Sue's sympathy.\"", "In spite of her present disbelief in his love, in spite of the bitter\nknowledge that her own had waned, Sue had no misgivings as yet as to the", "Sue had thrown an appealing look at Squire Boatfield, when she saw that\ndismal cortège. Her husband, her prince! the descendant of the Bourbons,", "Sue had gone out of his sight, desirous apparently of turning her back\non him forever. He was free and rich. The game had been risky, daring", "\"Sue! my adored lady,\" he entreated, \"in the name of Heaven listen to\nme.... You do believe, do you not, that I am your friend? ... I would", "\"I don't understand you.\"\n\n\"Yet, 'tis simple enough. Sue is my wife.\"\n\n\"Your wife! ...\" she exclaimed.", "Of Sue she did not think. The wrongs done to the defenseless girl were\nas nothing to her compared with the irreparable--the wrongs done to her", "Sue was more than a little inclined to be defiant.", "\"Nothing therefore remains to be said, my dear young lady,\" rejoined\nMaster Skyffington, once more speaking directly to Sue and placing his", "The young man, all the while that he approached, had not taken his eyes\noff Lady Sue. Twice he had stumbled against rough bits of root or branch" ], [ "The smith, dressed in the elaborate accouterments of the mysterious\nFrench prince, now lay face upwards on the sand.\n\nThe tide was rapidly setting in. In less than half an hour it would\nreach this portion of the beach.", "CHAPTER XVIII\n\nTHE TRAP", "CHAPTER II\n\nON A JULY AFTERNOON", "From the little village of Acol beyond the wood, came the sound of the\nchurch bell striking the hour of nine. Sue was silent and absorbed,", "The park was open here. The nearest trees were some fifty paces away,\nand in the ghostly darkness they could just perceive one another's", "And then he turned to go. She meant to stand there and watch him cross\nthe tangled lawn, and the little bridge, and to see him lose himself\namidst the great shadows of the park.", "For that day at Dover now only seemed a dream. The hurried tramp to the\nmain road in a torrent of pouring rain: the long drive in the stuffy", "Then only did she raise her head, and look about her. The hall was\ndeserted and seemed infinitely lonely, silent, and grim. The young", "Then at last one evening--it was late August then--when despair had\nbegun to grip her heart, and she herself had become the prey of vague", "This lonely, somewhat eerie corner of the park appeared to be the center\naround which all the mysterious happenings revolved, and Master", "Then one evening his voice suddenly sounded close to her ear, causing\nher to utter a quickly-smothered cry. It had been the one dull day", "The night was pitch dark after the rain. Great heavy clouds still hung\nabove, and an icy blast caught her skirts as she lifted the latch of the\ngate and turned into the open.", "the ground. One of these, moss-covered, green and soft, formed a perfect\nresting place. He drew her down, begging her to sit. She obeyed, scared", "There was silence in the tiny cottage parlor as the young girl made this\nextraordinary announcement in a firm if toneless voice, without\nflinching and meeting with a sort of stubborn pride the five pairs of\neyes which were now riveted upon her.", "The hour was three in the afternoon. Outside a glorious July sun spread\nradiance and glow over an old-fashioned garden, over tall yew hedges,", "He had been waiting for her inside the church, and seemed impatient\nwhen she arrived. No one had helped her to alight from the rickety\nchaise, and she had to run in the pouring rain, through the miserable\nand deserted churchyard.", "CHAPTER XXXI\n\nTHE ASSIGNATION", "How long she stood there watching that spot whereon he had been\nstanding, she could not say. Presently she shivered; the night had", "They had spent the previous night at the Swan Inn in Fleet Street and\nthe day in visiting the beautiful sights of London, which caused the\nyoung lad from the country to open wide eyes in astonishment and\npleasure.", "CHAPTER XXXVII\n\nTHE OLD WOMAN" ], [ "Thus we see him some few days later on a late afternoon, with back bent\nnearly double, eyes fixed steadily on the ground and his face a perfect", "But her share of the money she meant to have. She was tired of poverty,\ntired of planning and scheming, of debt and humiliation. She was tired", "The short interlude of passion was over. His eye had accidentally rested\nfor one second on the leather wallet, which she still held tightly\nclutched, and all thoughts of her beauty, of his power or his desires,\nhad flown out to the winds.", "And then he turned to go. She meant to stand there and watch him cross\nthe tangled lawn, and the little bridge, and to see him lose himself\namidst the great shadows of the park.", "This lonely, somewhat eerie corner of the park appeared to be the center\naround which all the mysterious happenings revolved, and Master", "The girl was in obvious, terrible distress: what she was feeling at this\nmoment when she was taking those around her into her confidence could be\nas nothing compared to what she must have endured when she first heard\nthe news that her strange bridegroom had been murdered.", "CHAPTER XVIII\n\nTHE TRAP", "Everything else had been merged in a kind of a dream. But the mute\nquestion in those eyes was what concerned him. It seemed to represent\nthe satisfaction of that morbid curiosity which had been such a terrible\nobsession during these past nerve-racking days.", "Her voice rose shrill and resonant, echoing in the low-ceilinged room;\nher pale eyes, dimmed with many tears, with hard work, and harder piety\nwere fixed upon the man who had dared to accuse her lad.", "terrible wrongs which he had inflicted on her. All that he thought of\nnow was the wallet which contained the fortune. That which would forever", "CHAPTER XXXVII\n\nTHE OLD WOMAN", "Then at last one evening--it was late August then--when despair had\nbegun to grip her heart, and she herself had become the prey of vague", "\"Hush! An you want to scream, I pray you question me not, for what I say\nis bound to startle you. Sue is my wife. I married her, having obtained", "on a life-story of frivolity and of heartlessness which Mistress de\nChavasse had almost unconsciously related to the poor ignorant country", "Oh! the pity and sadness of it all! For in her small and trembling hands\nshe was clutching with pathetic tenacity a small, brown wallet which\ncontained a fortune worthy of a princess.", "One thing was quite sure; that all joy had gone out of her life. It was\npossible that love was still there--she did not know--she was too young", "Quite a tragedy expressed in those few muttered words, in the trembling\nhands, the damp forehead. Money taken from an unsuspecting parent,", "endangered the success of his present purpose. Ink and paper were on the\ntable close to his elbow, and it was obvious that he had been\nquestioning the old woman very closely on a subject which she", "At first it had been a mere desire to know. On the morning following his\ncrime he made a vigorous effort to rally his scattered senses, to walk,", "It had all happened in a very few seconds: his entrance, his search for\nthe missing box, the growing irritation in him which had caused him to" ], [ "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "What the old Quakeress thought and felt, what Richard--the\nbrother--feared and conjectured was easy for Sir Marmaduke to guess: for", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "would be rich and passing rich, and he knew that he ran but little risk\nof detection. The girl was young, inexperienced and singularly\nfriendless: Sir Marmaduke felt convinced that none of the foreign", "But the laughter suddenly died on her lips and the merriment out of her\neyes. A dull, tired voice had just said feebly:\n\n\"Is Sir Marmaduke de Chavasse within?\"", "\"I will raise no difficulties in Sir Marmaduke's way,\" she rejoined,\n\"there is no doubt in my mind that my boys are dead, else I had had news\nof them ere this.\"", "\"Can naught be done, Marmaduke?\" she asked after a slight pause, during\nwhich she had watched anxiously the restless figure of her\nbrother-in-law as he paced up and down the narrow hall.", "\"Will it not keep?\" said Sir Marmaduke.\n\n\"Yes, an you wish it, Sir. I fear I have intruded. I did not know you\nwere busy.\"", "\"Your pardon, Sir Marmaduke,\" interposed Lambert firmly, \"my aunt is old\nand feeble. She hath been much upset and over anxious ... seeing that my\nbrother Adam is still from home.\"", "\"You should speak to him, good Sir Marmaduke,\" said Dame Harrison\ndecisively, \"you are a magistrate. 'Tis your duty to know more of this\nfellow and his antecedents.\"", "\"Naught! naught! my good Lambert,\" replied Sir Marmaduke, dropping his\nvoice to a whisper. \"Sir Michael Isherwood hath lost more than he can\nafford and is somewhat choleric of temper, that is all.\"", "She seemed satisfied at this assurance, for she now spoke in less\naggressive tones:\n\n\"Are you so sure of the girl, Marmaduke?\" she asked.", "as Sir Marmaduke had done, and after it the peremptory knocks, the loud\ncall, the word of command, followed by the sound of an awed and\nsupplicating voice, entering a feeble protest.", "contact with a cottage floor. But Sir Marmaduke struggled violently\nstill. He had been wiser no doubt, to take the humiliation quietly, to", "\"I thank you, no!\" replied Sir Marmaduke, striving to master his\nhabitual ill-humor and to speak pleasantly. \"My luck hath long since", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "cliffs. Either eventuality would suit Sir Marmaduke admirably, and he\nsighed with satisfaction at the thought that the knot between the\nheiress and himself was indeed tied sufficiently firm now to ensure her" ], [ "The voice was that of Richard Lambert.", "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "remained keen. To this coterie of avowed Republicans, young Richard\nLambert--secretary or what-not to Sir Marmaduke, a paid dependent at any", "Fortunately before the small cortège bearing the gruesome burden had\narrived at the cottage, young Richard Lambert had succeeded in making\nthe old woman understand what was expected of her.", "She had no thought that Richard Lambert would be on the watch. Nay! so\nwholly absorbed was she in her love for this man, once she was in his", "He would have seized the Quakeress by the arm in order to force her\nback, but Richard Lambert already stood between her and him.\n\n\"Let no one dare to lay a hand on her,\" he said quietly.", "She checked the movement as well as the cry, but not before Richard\nLambert had perceived both.", "Her eyes--pale and dim, heavy-lidded and deeply-lined--rested often on\nthe face of Richard Lambert, who, leaning against the corner of the", "During that moment of acute suspense Richard Lambert was quietly\nco-ordinating his thoughts.", "lordship's notice the young student--so long known as Richard\nLambert--who, of a truth, was sole heir to the earldom and to its\nmagnificent possessions and dependencies.", "\"Young Lambert is a bookworm, your Honor,\" suggested Pyot, who was keen\non the business, seeing that his zeal, if accompanied by success, would", "And with frantic, excited gesture he gathered up the cards and threw\nthem violently into Richard Lambert's face.", "Some thirty yards ahead of them they could see the dark figure of\nRichard Lambert walking towards the house.", "honor ... He is young ... and ... and he misunderstands.... You see, my\ngood Lambert,\" he added, once more turning to the young man, and still", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "\"Nay, then she should be shown the clothes and effects.... And, if I\nmistake not, there's Richard Lambert, my late secretary, has he laid\nsworn information about the man?\"", "The presence of Richard Lambert, his humble devotion, his whole-hearted\nsympathy and the occasional moments of conversation which she had with", "Lambert imprisoned for stealing, and cheating, even at the cost of his\nown condemnation to a fine for gambling.", "stolen into the house in the small hours of the morning he had seen\nRichard Lambert leaning out of one of the windows which gave upon the\npark.", "country bumpkin like myself ... and you see I have presumed on your\nlavish hospitality and brought my young friend, Master Richard Lambert,\nto whom you extended so gracious an invitation.\"" ], [ "protection of a good woman, and she was quite ready to lend a helping\nhand to Sir Marmaduke, at least until a goodly share of Lady Sue's\nfortune was safely within her grasp.", "\"The husband of Lady Sue Aldmarshe,\" quoth Sir Marmaduke, breaking into\na loud laugh.", "With Sir Marmaduke so far everything had prospered according to his\nwish. He had inveigled the heiress into a marriage which bound her to", "With the disappearance of that mysterious personage, Sir Marmaduke\nhaving realized Lady Sue's fortune, could resume life as an independent", "Sir Marmaduke had quickly arrived at the conclusion that Richard Lambert\nhad seen and spoken to Lady Sue and had learned from her that she was", "Lady Sue Aldmarshe had promised to marry her prince. She would keep her\nword, of that Sir Marmaduke was firmly convinced. But there would of", "Sir Marmaduke was the first to break the silence.\n\n\"My dear Sue,\" he said curtly, \"this is a strange place indeed wherein\nto find your ladyship.\"", "Sir Marmaduke, after a slight pause, had contrived to utter an\noath--indicative of the wrath he, as Lady Sue's guardian, should have", "\"That question we can discuss later on, Sir Marmaduke,\" said Sue now,\nwith sudden hauteur. \"Shall we proceed with our business, master?\" she", "Anon when the graceful outline of Lady Sue's figure emerged from out the\nsurrounding gloom, Sir Marmaduke went forward to meet her, and clasped\nher to him in a passionate embrace.", "She spoke with obvious sarcasm, casting covert glances at Lady Sue to\nsee if she heard.\n\nSir Marmaduke shrugged his shoulders.", "\"I am all attention, master,\" said Sue vaguely, and her eyes wide-open,\nobviously absent, she gazed fixedly on the silhouette of Sir Marmaduke,\ngrimly outlined against the grayish window-panes.", "Therefore, Sir Marmaduke was chiefly conscious of Editha's presence,\nand then only of Sue.", "Instinctively now Sue had risen. Sir Marmaduke's cruel laugh had grated\nhorribly on her ear, rousing an echo in her memory which she could not", "\"Sir Marmaduke was very disinterested, when he aided you in the quest,\"\nhe said meekly, glad to be able to praise one whom he felt it his duty\nto respect, \"for under present circumstances ... hem! ...\"", "Up to the hour of his departure from Acol Court, Sir Marmaduke had been\nconvinced that neither his sister-in-law nor Lady Sue had heard of the", "\"Sir Marmaduke is right,\" said the squire gently, \"this is indeed no\nplace for your ladyship. I did not see you arrive or I had at once\npersuaded you to go.\"", "and the rich daughter of the great Earl of Dover, that he never for a\nmoment resented Sir Marmaduke's sneers when they were directed against\nhis obvious, growing love for Sue.", "Sir Marmaduke lingered behind for a while, of set purpose: he had no\nwish to walk beside either Editha or Lady Sue, so he took some time in", "cliffs. Either eventuality would suit Sir Marmaduke admirably, and he\nsighed with satisfaction at the thought that the knot between the\nheiress and himself was indeed tied sufficiently firm now to ensure her" ], [ "After the fracas of this night Richard Lambert forsooth could never show\nhis face within two hundred miles of London, the ugly story of his", "Fortunately before the small cortège bearing the gruesome burden had\narrived at the cottage, young Richard Lambert had succeeded in making\nthe old woman understand what was expected of her.", "He would have seized the Quakeress by the arm in order to force her\nback, but Richard Lambert already stood between her and him.\n\n\"Let no one dare to lay a hand on her,\" he said quietly.", "remained keen. To this coterie of avowed Republicans, young Richard\nLambert--secretary or what-not to Sir Marmaduke, a paid dependent at any", "The voice was that of Richard Lambert.", "He avowed, however, that, disgusted at Richard Lambert's shameful\nconduct, he had quitted the place early, some little while before my", "During that moment of acute suspense Richard Lambert was quietly\nco-ordinating his thoughts.", "She had no thought that Richard Lambert would be on the watch. Nay! so\nwholly absorbed was she in her love for this man, once she was in his", "And with frantic, excited gesture he gathered up the cards and threw\nthem violently into Richard Lambert's face.", "country bumpkin like myself ... and you see I have presumed on your\nlavish hospitality and brought my young friend, Master Richard Lambert,\nto whom you extended so gracious an invitation.\"", "lordship's notice the young student--so long known as Richard\nLambert--who, of a truth, was sole heir to the earldom and to its\nmagnificent possessions and dependencies.", "She checked the movement as well as the cry, but not before Richard\nLambert had perceived both.", "Her eyes--pale and dim, heavy-lidded and deeply-lined--rested often on\nthe face of Richard Lambert, who, leaning against the corner of the", "\"Of course I know my brother,\" retorted Richard Lambert boldly, \"and can\nbut curse mine own cowardice in not defending him ere this.\"", "Some thirty yards ahead of them they could see the dark figure of\nRichard Lambert walking towards the house.", "knock echoed against the timbered walls, than the door was opened from\nwithin by Richard Lambert who, seeing the two gentlemen standing on the\nthreshold, stepped back immediately, allowing them to pass.", "\"Young Lambert is a bookworm, your Honor,\" suggested Pyot, who was keen\non the business, seeing that his zeal, if accompanied by success, would", "stolen into the house in the small hours of the morning he had seen\nRichard Lambert leaning out of one of the windows which gave upon the\npark.", "The presence of Richard Lambert, his humble devotion, his whole-hearted\nsympathy and the occasional moments of conversation which she had with", "Sir Marmaduke was away. In London or Canterbury, she could not say, but\nshe had scarcely seen him since that terrible time, when he came back\nfrom town having left Richard Lambert languishing in disgrace and in\nprison." ] ]

[ "Who has plenty of admirers?", "Who plans to disguise themself as French Prince of Orleans to win Lady Sue?", "Where does this take place?", "Other than Sir Marmaduke, who also admires Lady Sue?", "Who is arrested after taking part in a brawl?", "Who tricks Lady Sue into marrying them?", "Who persuades his widowed sister-in-law into helping with his plan?", "Who disgraces one of their sons and finds the other one murdered?", "What year did this take place?", "Where is the primary setting located, including the year?", "What is Sir Marmaduke trying to secure for himself?", "Who worships Sue with protective reverence?", "What illicit past-time does Richard know is breaking the law?", "Who compels richard to take part in breaking the law?", "Who is sue tricked into marrying?", "Who does marmaduke persuade to abet him?", "Why is richard arrested?", "Who is the exiled ?", "What disguise does Sir Marmaduke take?", "What does Sir Marmaduke trick Sue into doing?", "Who does young Richard Lambert worship and protect?", "What words best describes Sue?", "What is the setting for the story?", "What is the focus of the story?", "What does Sir Marmaduke persuade his widowed sister-in-law to help him do?", "What is young Richard Lambert arrested for?", "Why is Sir Marmaduke interested in marrying Lady Sue?", "What was young Richard Lambert doing before he was arrested for brawling?" ]

[ [ "Lady Sue", "Lady Sue" ], [ "Sir Marmaduke", "Sir Marmaduke plans to disguise himself as the French Prince of Orleans to win Lady Sue." ], [ "Kent", "In Kent" ], [ "Richard Lambert", "The young Richard Lambert." ], [ "Richard Lambert", "Richard" ], [ "Sir Marmaduke", "Sir Marmaduke de Chevasse" ], [ "Sir Marmaduke", "Sir Marmaduke" ], [ "Sir Marmaduke's sister-in-law.", "Sir Marmaduke's sister-in-law" ], [ "1657", "1657" ], [ "Kent in 1957", "Kent, 1657" ], [ "the Vast fortunes of lady sue", "Lady Sue's fortunes" ], [ "Richard Labert", "Sir Marmaduke de Chevasse" ], [ "gambling", "Gambling." ], [ "His employer", "His employer." ], [ "Marmaduke", "Sir Marmaduke de Chevasse" ], [ "His sister-in-law", "His widowed sister-in-law." ], [ "Taking part in a brawl", "For taking part in a brawl." ], [ "The French Prince of Orleans", "The French Prince" ], [ "exiled prince", "The exiled French Prince of Orleans" ], [ "marrying him", "Marrying him" ], [ "Sue", "Richard Lambert worships and protects Lady Sue." ], [ "young and graceful", "feminine, young, graceful, petite" ], [ "Kent in 1657", "Puritan Kent 1657" ], [ "intrigues of Sir Marmaduke", "Sir Marmaduke de Chevasse's intrigues." ], [ "betroth Sue", "Trick Sue into marrying him" ], [ "brawling", "Young Richard is arrested for gambling, which is illegal." ], [ "secure her fortunes", "So that he may secure her fortunes for himself" ], [ "gambling", "gambling" ] ]

[ [ "JACK (V.O.)\n This was a support group for men with\n testicular cancer. The big moosie\n slobbering all over me was Bob.", "Jack moves into a \"group hug\" of sickly people, men and\n women. In view is a sign by the door \"Free and Clear.\"\n\n INT. OFFICE BUILDING BASEMENT - NIGHT", "Marla walks out, The support group's dispersing. Jack\n exits amongst them. He spots Marla walking away.", "Jack walks along. He stops, looking at a CHURCH with\n SUPPORT-GROUP-PEOPLE milling around the entrance, drinking\n coffee and sodas. Marla's there, amongst them, smoking.", "JACK\n (quietly)\n How did you find me?\n\n MARLA\n The forwarding number. I haven't\n seen you at any support groups.", "JACK (V.O.)\n She had no diseases at all. I had\n seen her at my melanoma Monday night\n group ...\n\n INT. CATHOLIC CATHEDRAL - NIGHT", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK (V.O.)\n I never gave my real name at support\n groups.\n\n JACK\n Hi, Chloe.", "JACK (V.O.)\n She'd invaded my support groups, now\n she's invading my home.", "JACK\n These are my groups. I was here\n first. I've been coming for a year.\n\n MARLA\n A year? How'd you manage that?", "Jack stares at a group of men, including Bob, who are all\n listening to a group member speak at a lectern. The SPEAKER\n has pale skin and sunken eyes -- he's clearly dying.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "The speaker breaks down, WEEPS UNCONTROLLABLY.\n\n Jack watches. A couple of the men go up to the speaker,\n comforting him, leading him away. A LEADER takes the stand.", "JACK (V.O.)\n ... and at \"Free and Clear,\" my blood\n parasites group Thursdays.\n\n Jack leans out further than the others, scornful.", "JACK (V.O.)\n Next group, after guided meditation,\n after we open our chakras, when it's", "JACK\n Anyone who might've noticed either\n died or recovered and never came back.\n\n LEADER\n Let yourself cry.", "Jack enters, heaving. Again, NO CARS. He moves from one\n SUPPORT POST to another, searching. He finally spies,\n across the garage, NINE LARGE CANISTERS, heavily-WIRED.", "JACK (V.O.)\n I became addicted.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK (V.O.)\n The house became a living thing, wet\n inside from so many people sweating\n and breathing. So many people\n moving, the house moved.\n\n Jack walks out.", "MARLA\n Whatever.\n\n JACK\n Really... I mean it.\n (pause)\n Have you been going to your groups?" ], [ "Marla walks out, The support group's dispersing. Jack\n exits amongst them. He spots Marla walking away.", "MARLA\n Don't worry, I'm leaving.\n\n Marla finds what she wanted, a pack of cigarettes. She\n moves up into Jack's face.", "They shake. Jack tries to withdraw his hand; Marla holds it.\n\n MARLA\n Looks like this is goodbye.", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "Jack backs up against a window, numb and weary.\n\n TYLER\n From now on, we'll share Marla.\n We've been spending too much time\n apart...", "JACK\n That's the idea -- we split them.\n\n MARLA\n You haven't been going to yours.\n\n JACK\n I found a new one.", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "Jack awkwardly puts his bandaged hand behind his back.\n\n JACK\n Nothing.\n\n INT. MARLA'S ROOM - NIGHT", "Chloe laughs, a little too much. Jack squeezes out a laugh.\n Then he sees Marla, off by herself. Someone heads for her.\n\n JACK\n Excuse me, I have to...", "MARLA\n Fuck you.\n\n Marla shoves open the door to the backyard and walks out.\n Jack gets up, watches her stomp away.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "INT. TYLER'S ROOM - NIGHT (FLASHBACK)\n\n Tyler smokes, post-coital. Marla puts her lips to his ear.", "Marla leans to kiss him -- lingers for a bit longer than\n just friendly. Jack pulls away.\n\n JACK\n So.... are we done?\n\n Marla sighs.", "Jack stares after Marla for a long moment. He walks away.\n\n INT. BEDROOM - LATER", "Marla gets up. Jack grabs for her, but she's gone, heading\n for the door. Jack gathers his files, runs to follow...\n\n EXT. DINER - MOMESTS LATER", "JACK\n Get to the rendezvous point. Move it!\n\n Jack and Marla are left alone.\n\n MARLA\n My God, you're shot...", "INT. SMALL PROTESTANT CHURCH - RESUMING\n\n Jack's eyes open and turn to Marla, watching her blow smoke\n rings with her eyes closed.", "Marla comes to touch Jack's hair. Jack closes the basement\n door. Marla sees the kiss-scar on Jack's hand, grabs his\n hand. Jack tries to pull it back, but Marla keeps a grip.", "JACK\n Then, take blood parasites. It's\n yours. Now we each have three.\n\n Marla gathers the chosen garments and heads out past Jack..." ], [ "JACK (V.O.)\n This is how I met Marla Singer.\n\n INT. AIRPLANE CABIN - DAY", "CUT TO:\n\n INT. AIRPLANE CABIN - MOVING DOWN RUNWAY\n\n Jack is speaking to the BUSINESSWOMAN next to him.", "JACK (V.O.)\n The people I meet on each flight --\n they're single-serving friends.\n Between take-off and landing, we have\n our time together, but that's all we\n get.", "The plane touches down; the cabin BUMPS. Jack's eyes open.\n\n JACK (V.O.)\n You wake up at O'Hare.", "Jack sits next to a BUSINESSMAN. As they have idle\n CONVERSATION, we MOVE IN ON Jack's tray. An ATTENDANT'S\n HANDS set coffee down with a small container of cream.", "Jack misses seeing TYLER on the opposite conveyor belt.\n They pass each other.\n\n INT. AIRPLANE CABIN - IN FLIGHT - NIGHT", "JACK (V.O.)\n Am I asleep... ?\n\n INT. AIRPLANE - NIGHT\n\n Jack sits awake. Everyone around him is asleep.", "JACK (V.O.)\n Please return your seatbacks to their\n full upright and locked position.\n\n INT. HOTEL ROOM - NIGHT", "JACK (V.).)\n ...I knew fight club was close.\n\n INT. AIRPORT TERMINAL - NIGHT", "JACK\n Uh... I'm sorry. We met on the\n plane. We had the same briefcase.\n I'm... you know, the clever guy.", "--a BUSINESSMAN next to him. Jack takes another bite, turns\n back, and it's...\n\n --a BUSINESS WOMAN next to him.", "INT. AIRPLANE CABIN - LANDING\n\n Jack's eyes snap open.\n\n JACK (V.O.)\n You wake up at Logan.", "JACK (V.O.)\n Home was a condo on the fifteenth\n floor of a filing cabinet for widows\n and young professionals. The walls", "BOSS\n Here are your flight coupons. Call\n me from the road if there are any\n snags. Your itinerary...\n\n Jack hides a yawn, pretends to listen.", "Jack hurries from the terminal, runs to a TAXI ...\n\n JACK (V.O.)\n In every city, I branched out from\n the airport to downtown, bar-\n hopping...", "Tyler stares back. Jack, enjoying his own chance to be\n witty, leans closer to Tyler.\n\n JACK\n You see, when you travel, everything\n is small, self-contained--", "INT. AIRPLANE CABIN - DAY\n\n Jack's eyes snap open as the plane LANDS.", "JACK (V.O.)\n You wake up at Air Harbor\n International.\n\n INT. AIRPORT WALKWAY", "JACK (V.O.)\n How I came to live with Tyler is:\n airlines have this policy about\n vibrating luggage.\n\n INT. BAGGAGE CLAIM AREA - NIGHT", "Jack, in a panic, HANGS UP.\n\n INSERT - AN AIRPLANE TAKES OFF...\n\n INT. PLANE CABIN - DAY" ], [ "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "JACK (V.O.)\n Let me tell you a little bit about\n Tyler Durden.\n\n EXTREME CLOSE-UP - FILM FRAME", "TYLER\n Tyler Durden.\n\n Tyler offers his hand. Jack takes it.\n\n TYLER\n You know why they have oxygen masks\n on planes?", "TYLER\n Tyler Durden.\n\n Tyler extends his hand for a shake, but Lou SLAPS it away.", "JACK\n I'm looking for Tyler Durden.\n\n BARTENDER\n Never heard of him.", "JACK\n Why do people think I'm Tyler Durden?\n\n TYLER\n Why did you do that?\n\n JACK\n Answer me, Tyler.", "JACK\n Because... I'm Tyler Durden.", "Tyler looks at Jack, looks at the C.K. advertisement.\n\n TYLER\n Self-improvement is masturbation.\n Self-destruction is the answer.", "TYLER\n Soap -- the yardstick of civilization.\n (reaches in his pocket)\n I make and sell soap...", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "They are both sweating and disheveled, both around 30; Tyler\n is blond, handsome; and Jack, brunette, is appealing in a\n dry sort of way. Tyler looks at his watch.", "--------------------------------------------------------------\n\n SCREEN BLACK\n\n JACK (V.O.)\n People were always asking me, did I\n know Tyler Durden.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "JACK (V.O.)\n Tyler sold the soap to department\n stores at twenty bucks a Ear. God", "TYLER\n What do you want to know about\n Project Mayhem?\n\n RICKY AND MECHANIC\n (together)\n The first rule of Project Mayhem --", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "JACK (V.O.)\n I am Jack's Raging Bile Duct.\n\n Tyler lights his cigarette.\n\n TYLER\n You're sure?", "JACK\n I'm not Tyler Durden!\n\n BALDY\n You told us you'd say that, too.", "TYLER\n The first rule of fight club is --\n you don't talk about fight club. The\n second rule of fight club is -- you" ], [ "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "TYLER\n What about them? They're lunatics.\n\n JACK\n You took me to the house.", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "JACK (V.O.)\n Tyler's door was closed. I'd been\n living here two months, and Tyler's\n door was never closed.\n\n INT. BATHROOM - SAME", "INT. TYLER'S ROOM - NIGHT (FLASHBACK)\n\n Tyler smokes, post-coital. Marla puts her lips to his ear.", "JACK (V.O.)\n The previous occupant had been a bit\n of a shut-in.\n\n TYLER\n (of magazine)\n Hum.", "TYLER\n You called me so you could have a\n place to stay.\n\n JACK\n No, I...", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "TYLER\n The house is rented in your name.\n\n JACK\n You have jobs.\n\n TYLER\n Night jobs -- while you were sleeping.", "TYLER\n We need this place. We need it.\n Please let us keep it, please...\n\n Blood dribbles out of Tyler's mouth, spattering Lou.", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "TYLER\n How do you feel?\n\n JACK\n Strange.\n\n TYLER\n But a good strange.", "MARLA\n Nothing? I don't think so.\n\n TYLER\n (whisper)\n This conversation...\n\n JACK\n This conversation...", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "JACK\n Not my mouth. Our mouth.\n\n Tyler is calm.\n\n TYLER\n This is interesting.", "LOU\n He don't own this place, I do. How\n much money's he getting for this?\n\n TYLER\n There is no money.", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "Jack backs up against a window, numb and weary.\n\n TYLER\n From now on, we'll share Marla.\n We've been spending too much time\n apart...", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her." ], [ "JACK (V.O.)\n A guy came to fight club for the\n first time, his ass was a wad of\n cookie dough. After a few weeks, he\n was carved out of wood.", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK (V.O.)\n You weren't alive anywhere like you\n were there. But fight club only\n exists in the hours between when\n fight club starts and when fight club\n ends.", "TYLER\n Fight club was the beginning. Now\n it's out of the basements and there's a\n name for it -- Project Mayhem.", "rule -- fights go on as long as they\n have to. And the eighth and final\n rule -- if this is your first night\n at fight club, you have to fight.", "TYLER\n The first rule of fight club is --\n you don't talk about fight club. The\n second rule of fight club is -- you", "JACK (V.O.)\n Now nobody was the center of fight\n club except the two men fighting.\n The leader walked around in the\n crowd, out in the darkness.", "JACK\n You're welcome.\n\n JACK (V.O.)\n Fight club -- this was mine and\n Tyler's gift... our gift to the world.", "Boss slaps a piece of PAPER down on Jack's desk.\n\n BOSS\n \"The first rule of fight club is you\n don't talk about fight club.\"", "JACK\n The first rule of fight club is --\n you don't talk about fight club.\n\n INT. HOTEL ROOM - RESUMING", "JACK (V.O.)\n Who you were in fight club is not who\n you were in the rest of the world.\n\n INT. PHOTOCOPY ROOM - DAY", "JACK (V.O.)\n Fight club wasn't about winning or\n losing. It wasn't about words.", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "JACK (V.O.)\n After fight club, everything else in\n your life gets the volume turned\n down. You can deal with anything.\n\n BOSS\n Have you finished those reports?", "TYLER\n Shut up! Which means a lot of you\n have been breaking the first two\n rules of fight club.\n\n A glum silence falls. Guys look at each other.", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "Fight club in full swing. Jack battles Angel Face, BEATING\n the shit out of him with unprecedented viciousness.", "BRUISED PATRON #1\n Is it true about fight club in Miami?\n\n BRUISED PATRON 12\n Is Mr. Durden building an army?", "JACK\n Fuck my life. Fuck fight club. Fuck\n you and fuck Marla. I'm sick of\n this. How's that?", "TYLER\n What do you want to know about\n Project Mayhem?\n\n RICKY AND MECHANIC\n (together)\n The first rule of Project Mayhem --" ], [ "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "INT. MARLA'S ROOM - SAME\n\n Marla answers.\n\n MARLA\n Yeah?", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "MARLA\n Fuck you.\n\n Marla shoves open the door to the backyard and walks out.\n Jack gets up, watches her stomp away.", "JACK (V.O.)\n If only I had wasted a couple of\n minutes and gone to watch Marla die,\n none of this would have happened.\n\n INT. LIVING ROOM - NIGHT", "MARLA\n Don't worry, I'm leaving.\n\n Marla finds what she wanted, a pack of cigarettes. She\n moves up into Jack's face.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "They shake. Jack tries to withdraw his hand; Marla holds it.\n\n MARLA\n Looks like this is goodbye.", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "JACK\n Yes.\n\n Jack tries to got up. Marla helps him.\n\n MARLA\n Who did this to you?", "MARLA'S VOICE (O.S.)\n Who are all these people?\n\n Jack turns, sees Marla with an overnight bag.", "Jack awkwardly puts his bandaged hand behind his back.\n\n JACK\n Nothing.\n\n INT. MARLA'S ROOM - NIGHT", "JACK (V.O.)\n Somehow, I realize all of this -- the\n gun, the bombs, the revolution -- is\n really about Marla Singer.", "Jack looks exasperated, turns TO LOOK INTO THE CAMERA.\n\n JACK (V.O.)\n Picture yourself watching Marla\n Singer throw herself around her\n crummy apartment.", "Jack backs up against a window, numb and weary.\n\n TYLER\n From now on, we'll share Marla.\n We've been spending too much time\n apart...", "MARLA\n The mattresses are all sealed in\n slippery plastic.\n\n She tries to focus her eyes on Tyler.\n\n MARLA\n Did I call you?", "TYLER\n Hear that? Marla's here. Just in\n the nick of time, eh?\n\n Jack looks to Tyler. Tyler points towards the SOUND...", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "JACK (V.O.)\n I came so close to saying Tyler's\n name, I could feel it vibrate inside\n my mouth.\n\n Marla looks a him, waiting.", "MARLA\n What... ?\n\n JACK\n What the hell are you doing here?\n\n Marla stares at him a beat, then drops the cup in the sink." ], [ "INT. TYLER'S ROOM - NIGHT (FLASHBACK)\n\n Tyler smokes, post-coital. Marla puts her lips to his ear.", "TYLER\n A hotel?\n\n JACK\n Yeah.", "INT. MARLA'S ROOM - CONTINUOUS (FLASHBACK)\n\n Marla pulls Tyler inside and shuts the door. Her drugged\n eyes look him over.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "Tyler is seated in Jack's lap. Tyler holds the gun in\n Jack's mouth, his arm around him. This huge room is being", "JACK (V.O.)\n In Tyler We Trust.\n\n INT. JACK'S ROOM - DAY\n\n Jack opens his eyes, awakening to sunlight thru the window.", "JACK (V.O.)\n Tyler's door was closed. I'd been\n living here two months, and Tyler's\n door was never closed.\n\n INT. BATHROOM - SAME", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "Jack looks at Tyler -- they lock eyes. Jack does his best\n to stifle his spasms of pain, his body a quivering, coiled\n knot. He bolts toward the sink, but Tyler holds on.", "They are both sweating and disheveled, both around 30; Tyler\n is blond, handsome; and Jack, brunette, is appealing in a\n dry sort of way. Tyler looks at his watch.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "TYLER\n (whispering in Jack's ear)\n Tell him...\n\n Jack almost leaps out his skin, startled; looks to see Tyler\n standing right next to him.", "TYLER\n We just had a near-life experience.\n\n INT. JACK'S BEDROOM - LATE NIGHT", "INT. HOTEL ROOM - RESUMING\n\n TYLER\n You can see me and hear me, but no\n one else can...", "TYLER\n The fight.\n\n JACK\n What fight?\n\n TYLER\n This fight, pussy.", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "Jack backs away, surrounded, PUSHES his way out of the room.\n\n INT. TYLER'S ROOM - MOMENTS LATER", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain." ], [ "TYLER\n Imagine how he feels.\n\n Tyler brings the gun to his own head, pulls the trigger --\n CLICK. Empty.", "JACK\n Bob is dead, Tyler. The police blew\n a hole in his head. Was that part of\n your plan?\n\n Tyler thinks, shrugs.", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "RAYMOND\n No, please, no, God, no!\n\n Tyler moves the gun right between Raymond's eyes.\n\n RAYMOND\n NOOOOO!", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "TYLER\n \"I get cancer, and I kill Joe.\"\n\n Tyler tosses his article in a pile of other articles,\n chooses another magazine.", "and pulls, the necktie tightening and strangling Lou. Lou\n slaps at Tyler's face, but recoils from the blood. Tyler\n spits and shouts through clenched teeth...", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "TYLER\n We need this place. We need it.\n Please let us keep it, please...\n\n Blood dribbles out of Tyler's mouth, spattering Lou.", "Tyler scratches his head, wears a RUBBER GLOVE.\n\n TYLER\n You want to finish her off?\n\n JACK\n Uh... nah...", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "JACK\n Me?\n\n Jack stares at him.\n\n TYLER\n Why not you? I'm letting you go\n first. Do it.", "Tyler lets go of Lou's belt. Lou scrambles away. The Thug\n drops Tyler, trying to keep clear of the blood. Lou gets to", "Jack brings the gun up, PUTS THE GUN IN HIS MOUTH.\n\n Tyler cocks his head.\n\n TYLER\n What are you doing?", "TYLER\n Human Sacrifice.\n\n Jack turns white, staring at the gun.", "TYLER\n (still walking away)\n What?\n\n JACK\n (COCKS the gun)\n Defuse the bomb.\n\n Tyler stops walking.", "Finally, Angel Face lies still, unconscious. Jack stops,\n stares down, numb. Jack walks away -- the crowd parts to\n let him pass. Jack scans faces... finds Tyler." ], [ "JACK (V.O.)\n When you have insomnia, you're never\n really asleep and you're never really\n awake. I hadn't slept in four days...", "JACK (V.O.)\n And suddenly, I felt nothing. I\n couldn't cry. So, once again, I\n could not sleep.", "INTERN\n No, you can't die of insomnia.\n\n JACK\n Maybe I died already. Look at my\n face.", "JACK (V.O.)\n With insomnia, nothing is real.\n Everything is far away. Everything\n is a copy of a copy of a copy.", "JACK (V.O.)\n Babies don't sleep this well.\n\n INT. JACK'S BEDROOM - NIGHT\n\n Jack lies sound asleep.", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "JACK (V.O.)\n For six months. I could not sleep.\n\n INT. COPY ROOM - DAY", "INT. JACK'S BEDROOM - NIGHT\n\n Jack lies in bed, staring at the ceiling.", "Tyler makes coffee. Marla slouches against the refrigerator.\n\n MARLA\n If I fall asleep, I'm done for.\n You're gonna have to keep me up all\n night.", "Jack lies in bed, traumatized, eyes empty, staring at the\n ceiling. Tyler sits in a nearby chair.", "INTERN\n (overlapping w/ above)\n You need healthy, natural sleep.\n Chew valerian root and get some more\n exercise.", "Jack lies calmly on his bed, staring at the ceiling. Sounds\n of THUMPS and CRASHES from beyond the wall.", "Jack, sleepy, stands over a copy machine. His Starbucks cup\n sits on the lid, moving back and forth as the machine copies.", "INT. BEDROOM - LATE NIGHT", "JACK (V.O.)\n I had to hug the walls, trapped\n inside this clockwork of Space\n Monkeys, cooking and working and\n sleeping in teams.\n\n INT. READING ROOM - NIGHT", "Jack awkwardly puts his bandaged hand behind his back.\n\n JACK\n Nothing.\n\n INT. MARLA'S ROOM - NIGHT", "INT. PUBLIC BUILDING CONFERENCE ROOM - NIGHT\n\n Everyone, including Jack, sits back in their seats, EYES\n CLOSED. The Leader speaks into a microphone.", "Marla rests her chin on the man's shoulder. Tears roll down\n her cheeks. She wipes at them.\n\n EXT. FIRST METHODIST CHURCH - NIGHT", "JACK (V.O.)\n Had I been going to bed earlier every\n night? Have I been sleeping later?\n Has Tyler been in charge longer and\n longer?", "The DRIVER has a broken nose. The bus is empty, except for\n Jack, in the very last seat, sleepy." ], [ "JACK (V.O.)\n I became addicted.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK\n (warning)\n It becomes an addiction.\n\n MARLA\n Really?\n\n Jack sighs, then pulls back.", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:", "JACK (V.O.)\n Bob loved me because he thought my\n testicles were removed too. Being\n there, my face against his tits,\n ready to cry -- this was my vacation.", "JACK (V.O.)\n Under and behind and inside\n everything this man took for granted,\n something horrible had been growing.", "JACK (V.O.)\n And suddenly, I felt nothing. I\n couldn't cry. So, once again, I\n could not sleep.", "JACK (V.O.)\n If only I had wasted a couple of\n minutes and gone to watch Marla die,\n none of this would have happened.\n\n INT. LIVING ROOM - NIGHT", "JACK (V.O.)\n Under and behind and inside\n everything I took for granted,\n something horrible had been growing.", "JACK (V.O.)\n When the fight was over, nothing was\n solved, but nothing mattered.", "JACK (V.O.)\n I had to hug the walls, trapped\n inside this clockwork of Space\n Monkeys, cooking and working and\n sleeping in teams.\n\n INT. READING ROOM - NIGHT", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "Jack and Tyler sit on the curb, watching sparse headlights\n on the nearby freeway. Their eyes are glazed with endorphin-\n induced serenity. They look at each other, laugh. Look away.", "JACK (V.O.)\n Everywhere I went, I felt I had\n already been there.\n\n At his feet -- DRIED BLOOD on the concrete floor.", "Jack PUNCHES HIMSELF in the nose. Blood starts to trickle.\n He punches himself in the jaw, throws himself back as if by", "He PUNCHES himself in the stomach, then in the jaw again.\n He reels backwards, pulls down a hanging shelf, its contents\n flying. He hits the floor.", "JACK (V.O.)\n -- And, again, at \"Seize The Day,\" my\n tuberculosis Friday night.\n\n CUT BACK TO:", "JACK (V.O.)\n There were no neighbors. Just\n warehouses and the paper mill. The\n fart smell of steam, the hamster cage\n smell of wood chips.", "JACK (V.O.)\n Nothing worked. The rusty plumbing\n leaked. Turning on a light meant\n another light in the house went out.", "JACK\n Look, this is a bad time...\n\n MARLA\n I've been going to debtor's\n anonymous. You want to see some\n truly fucked up people?" ], [ "Marla walks out, The support group's dispersing. Jack\n exits amongst them. He spots Marla walking away.", "JACK (V.O.)\n This was a support group for men with\n testicular cancer. The big moosie\n slobbering all over me was Bob.", "JACK\n (quietly)\n How did you find me?\n\n MARLA\n The forwarding number. I haven't\n seen you at any support groups.", "Jack walks along. He stops, looking at a CHURCH with\n SUPPORT-GROUP-PEOPLE milling around the entrance, drinking\n coffee and sodas. Marla's there, amongst them, smoking.", "JACK (V.O.)\n She had no diseases at all. I had\n seen her at my melanoma Monday night\n group ...\n\n INT. CATHOLIC CATHEDRAL - NIGHT", "JACK (V.O.)\n She'd invaded my support groups, now\n she's invading my home.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "Jack moves into a \"group hug\" of sickly people, men and\n women. In view is a sign by the door \"Free and Clear.\"\n\n INT. OFFICE BUILDING BASEMENT - NIGHT", "JACK (V.O.)\n I never gave my real name at support\n groups.\n\n JACK\n Hi, Chloe.", "JACK (V.O.)\n This is how I met Marla Singer.\n\n INT. AIRPLANE CABIN - DAY", "JACK\n These are my groups. I was here\n first. I've been coming for a year.\n\n MARLA\n A year? How'd you manage that?", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK (V.O.)\n Next group, after guided meditation,\n after we open our chakras, when it's", "JACK (V.O.)\n I became addicted.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "Jack stares at a group of men, including Bob, who are all\n listening to a group member speak at a lectern. The SPEAKER\n has pale skin and sunken eyes -- he's clearly dying.", "JACK (V.O.)\n ... and at \"Free and Clear,\" my blood\n parasites group Thursdays.\n\n Jack leans out further than the others, scornful.", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:", "JACK (V.O.)\n A guy came to fight club for the\n first time, his ass was a wad of\n cookie dough. After a few weeks, he\n was carved out of wood.", "MARLA'S VOICE (O.S.)\n Who are all these people?\n\n Jack turns, sees Marla with an overnight bag.", "Jack enters, heaving. Again, NO CARS. He moves from one\n SUPPORT POST to another, searching. He finally spies,\n across the garage, NINE LARGE CANISTERS, heavily-WIRED." ], [ "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "JACK (V.O.)\n Somehow, I realize all of this -- the\n gun, the bombs, the revolution -- is\n really about Marla Singer.", "JACK\n Marla, it's me. Have we... have we\n ever had sex?\n\n MARLA\n What kind of stupid question is\n that?!", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "Jack backs up against a window, numb and weary.\n\n TYLER\n From now on, we'll share Marla.\n We've been spending too much time\n apart...", "Jack looks exasperated, turns TO LOOK INTO THE CAMERA.\n\n JACK (V.O.)\n Picture yourself watching Marla\n Singer throw herself around her\n crummy apartment.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "JACK (V.O.)\n This is how I met Marla Singer.\n\n INT. AIRPLANE CABIN - DAY", "Jack watches... Marla's eyes are closed, her head on the\n shoulder of the MAN she's embraced by. She opens her eyes,\n catching Jack's stare. Jack looks away.", "INT. TYLER'S ROOM - NIGHT (FLASHBACK)\n\n Tyler smokes, post-coital. Marla puts her lips to his ear.", "MARLA\n Don't worry, I'm leaving.\n\n Marla finds what she wanted, a pack of cigarettes. She\n moves up into Jack's face.", "MARLA\n Fuck you.\n\n Marla shoves open the door to the backyard and walks out.\n Jack gets up, watches her stomp away.", "They shake. Jack tries to withdraw his hand; Marla holds it.\n\n MARLA\n Looks like this is goodbye.", "INT. MARLA'S ROOM - CONTINUOUS (FLASHBACK)\n\n Marla pulls Tyler inside and shuts the door. Her drugged\n eyes look him over.", "Jack really grinds the soap against the pants, splashing\n water. He turns, sees Marla enter. Tyler is GONE. Marla\n lights a cigarette.", "JACK (V.O.)\n If only I had wasted a couple of\n minutes and gone to watch Marla die,\n none of this would have happened.\n\n INT. LIVING ROOM - NIGHT", "Marla comes to touch Jack's hair. Jack closes the basement\n door. Marla sees the kiss-scar on Jack's hand, grabs his\n hand. Jack tries to pull it back, but Marla keeps a grip.", "Marla stands facing a MIRROR with her shirt open. Jack\n stands behind her with his hand on the bottom side of her\n breast. Marla's hand guides his." ], [ "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "TYLER\n You're welcome to join our club.\n\n LOU\n Did you hear what I just said?!\n\n TYLER\n You and your friend.", "TYLER\n Fight club was the beginning. Now\n it's out of the basements and there's a\n name for it -- Project Mayhem.", "Tyler and the Opponent wrestle desperately, and Tyler flips\n his attacker, gets on top, sprawling to pin him. Tyler\n turns -- starts reining PUNCHES into the Opponent's GROIN...", "TYLER\n ...your sentences! They're\n our sentences. Get your mind around\n that.\n\n Tyler gets up walks to Jack.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "JACK (V.O.)\n Every week, Tyler gave the rules that\n he and I decided.", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "TYLER\n Shut up! Which means a lot of you\n have been breaking the first two\n rules of fight club.\n\n A glum silence falls. Guys look at each other.", "The guys mill around, finding partners. Everyone brims with\n eagerness, but tries to act cool. CHATTER gets LOUDER.\n Everyone spreads out, forming a circle, Tyler at center.", "Jack backs away, surrounded, PUSHES his way out of the room.\n\n INT. TYLER'S ROOM - MOMENTS LATER", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "TYLER\n Look what we've accomplished.\n (checks watch)\n Thirty seconds.", "TYLER (O.S.)\n Go ahead. Say it.\n\n JACK\n You get the idea.", "Jack catches sight of a swollen-faced Tyler, watching\n appreciatively, a smile growing slowly on his face.", "The crowd shouts maniacally, save Tyler, who watches with an\n inscrutable stone face.", "Tyler stares forward.\n\n INT. TAVERN BASEMENT - NIGHT", "TYLER\n Is this a needlepoint club? Is it\n about you and me?\n\n JACK\n You know what I mean.", "EXT. PAPER ST. HOUSE - NIGHT\n\n Jack sits watching as Tyler SWINGS an old GOLF CLUB --\n THWACK -- sends a golf ball soaring down the desolate street.", "TYLER\n Yes, it is.\n\n LOU\n Look, stupid fuck, I want everyone\n outta here now!" ], [ "JACK (V.O.)\n Tyler's door was closed. I'd been\n living here two months, and Tyler's\n door was never closed.\n\n INT. BATHROOM - SAME", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "JACK (V.O.)\n At night, Tyler and I were alone for\n half a mile in every direction.\n\n EXT. LOU'S TAVERN PARKING LOT - NIGHT", "They are both sweating and disheveled, both around 30; Tyler\n is blond, handsome; and Jack, brunette, is appealing in a\n dry sort of way. Tyler looks at his watch.", "JACK (V.O.)\n Except for their humping, Tyler and\n Marla were never in the same room.", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK\n Pardon me?\n\n Tyler turns to Jack.\n\n JACK (V.O.)\n This is how I met --", "TYLER\n The fight.\n\n JACK\n What fight?\n\n TYLER\n This fight, pussy.", "JACK (V.O.)\n I don't know how Tyler found the\n house, but he'd been there for half\n a year.", "JACK (V.O.)\n Let me tell you a little bit about\n Tyler Durden.\n\n EXTREME CLOSE-UP - FILM FRAME", "Tyler looks at his watch.\n\n TYLER\n One minute.\n\n JACK (V.O.)\n I think this is about where we came\n in.", "TYLER\n How do you feel?\n\n JACK\n Strange.\n\n TYLER\n But a good strange.", "JACK (V.O.)\n How I came to live with Tyler is:\n airlines have this policy about\n vibrating luggage.\n\n INT. BAGGAGE CLAIM AREA - NIGHT", "Jack looks at Tyler -- they lock eyes. Jack does his best\n to stifle his spasms of pain, his body a quivering, coiled\n knot. He bolts toward the sink, but Tyler holds on.", "JACK\n Hey.\n\n TYLER\n Hey.", "TYLER\n Tyler Durden.\n\n Tyler extends his hand for a shake, but Lou SLAPS it away.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "JACK\n Hello?\n\n TYLER'S VOICE\n Who's this?\n\n JACK\n Tyler?" ], [ "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "JACK\n Pardon me?\n\n Tyler turns to Jack.\n\n JACK (V.O.)\n This is how I met --", "TYLER\n The fight.\n\n JACK\n What fight?\n\n TYLER\n This fight, pussy.", "TYLER (O.S.)\n Go ahead. Say it.\n\n JACK\n You get the idea.", "TYLER\n I did that for you. As a gesture.\n Now, how fast can you run? There are", "Tyler looks at his watch.\n\n TYLER\n One minute.\n\n JACK (V.O.)\n I think this is about where we came\n in.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "TYLER\n (whispering in Jack's ear)\n Tell him...\n\n Jack almost leaps out his skin, startled; looks to see Tyler\n standing right next to him.", "TYLER\n How do you feel?\n\n JACK\n Strange.\n\n TYLER\n But a good strange.", "TYLER\n ...your sentences! They're\n our sentences. Get your mind around\n that.\n\n Tyler gets up walks to Jack.", "TYLER\n (still a whisper)\n What are you talking about?\n\n JACK\n (to Marla and Tyler)\n Nothing.", "TYLER\n (harsh whisper)\n You're not talking about me, are you?\n\n Jack reacts, turns back to Marla.", "TYLER\n We are the all-singing, all-dancing\n crap of the world. We are all part\n of the same compost heap...\n\n JACK\n Tyler...", "They are both sweating and disheveled, both around 30; Tyler\n is blond, handsome; and Jack, brunette, is appealing in a\n dry sort of way. Tyler looks at his watch.", "JACK (V.O.)\n Tyler's door was closed. I'd been\n living here two months, and Tyler's\n door was never closed.\n\n INT. BATHROOM - SAME", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "Jack looks at Tyler -- they lock eyes. Jack does his best\n to stifle his spasms of pain, his body a quivering, coiled\n knot. He bolts toward the sink, but Tyler holds on.", "JACK\n Thank you.\n\n TYLER\n You're welcome. But, I want you to\n do me one favor." ], [ "JACK\n Bob is dead, Tyler. The police blew\n a hole in his head. Was that part of\n your plan?\n\n Tyler thinks, shrugs.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "TYLER (O.S.)\n Go ahead. Say it.\n\n JACK\n You get the idea.", "TYLER\n I did that for you. As a gesture.\n Now, how fast can you run? There are", "TYLER\n Not an option, for the most obvious\n of reasons. You need to get with the\n program.\n (looks at his watch)\n Seven minutes. Let's get out of here.", "TYLER\n Damn it! God-damn it...\n\n JACK\n Not exactly according to plan.", "TYLER\n (still walking away)\n What?\n\n JACK\n (COCKS the gun)\n Defuse the bomb.\n\n Tyler stops walking.", "TYLER\n Imagine how he feels.\n\n Tyler brings the gun to his own head, pulls the trigger --\n CLICK. Empty.", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "Tyler smiles, gets up and leaves. Jack sits smoldering.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "those buildings will be reduced to\n smoldering rubble. I know this\n because Tyler knows this.", "Tyler pulls the stolen car away from the curb. It has two\n bumperstickers: \"RECYCLE YOUR ANIMALS\" and \"MAKE MINE VEAL.\"", "TYLER\n \"I get cancer, and I kill Joe.\"\n\n Tyler tosses his article in a pile of other articles,\n chooses another magazine.", "TYLER\n Give me your wallet.\n\n The Clerk fumbles his wallet out of his pocket and Tyler\n snatches it. Tyler pulls out the DRIVER'S LICENCE.", "TYLER\n Human Sacrifice.\n\n Jack turns white, staring at the gun.", "TYLER\n Nothing. Do what you like.\n\n Tyler walks out the way he came.\n\n INT. JACK'S OFFICE - DAY", "Tyler rises, taking the gun from Jack's mouth, starts\n pacing. Jack rubs his sore jowls, allows himself a smile.", "TYLER\n (whispering in Jack's ear)\n Tell him...\n\n Jack almost leaps out his skin, startled; looks to see Tyler\n standing right next to him.", "LOU\n He don't own this place, I do. How\n much money's he getting for this?\n\n TYLER\n There is no money." ], [ "The Mechanic looks up from Bob's corpse.\n\n MECHANIC\n They shot Bob... they shot him in the\n head. Those fuckers...", "JACK\n Get to the rendezvous point. Move it!\n\n Jack and Marla are left alone.\n\n MARLA\n My God, you're shot...", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "JACK\n Bob is dead, Tyler. The police blew\n a hole in his head. Was that part of\n your plan?\n\n Tyler thinks, shrugs.", "Jack SHOOTS TWICE. Bullets pass right thorough Tyler.\n Tyler just rolls his eyes, drops the walkie-talkie to the\n floor and STOMPS on it, CRUSHING it.", "WOUNDED BARTENDER\n You were standing right where you are\n now, asking how good our security is.\n It's tight as a drum.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "Jack quakes, holding the side of his head; a ragged hole\n blown in his CHEEK. He's bleeding hard, but he's alive.\n\n JACK\n I'm okay...", "JACK (V.O.)\n For some reason, I thought of my\n first fight -- with Tyler.\n\n Jack crawls toward Boss, dripping blood, grabs Boss's leg.", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "WOUNDED BARTENDER\n You were in here last Thursday night.\n\n JACK\n What?", "WOUNDED BARTENDER\n You're the one who did this to me.\n You're Mr. Durden, sir. Tyler Durden.", "RAYMOND\n No, please, no, God, no!\n\n Tyler moves the gun right between Raymond's eyes.\n\n RAYMOND\n NOOOOO!", "JACK (V.O.)\n Somehow, I realize all of this -- the\n gun, the bombs, the revolution -- is\n really about Marla Singer.", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "JACK (V.O.)\n Now nobody was the center of fight\n club except the two men fighting.\n The leader walked around in the\n crowd, out in the darkness.", "JACK (V.O.)\n Under and behind and inside\n everything this man took for granted,\n something horrible had been growing.", "JACK (V.O.)\n A guy came to fight club for the\n first time, his ass was a wad of\n cookie dough. After a few weeks, he\n was carved out of wood.", "Suddenly, a FIST ENTERS FRAME -- SLUGS Jack's face.\n\n Jack falls. The gun goes CLATTERING across the floor..." ], [ "Marla looks at him. ANOTHER BUILDING IMPLODES and COLLAPSES\n inward... and ANOTHER BUILDING... and ANOTHER...", "Jack and Marla look -- OUT THE WINDOWS: a BUILDING EXPLODES;\n collapsing upon itself. Then, ANOTHER BUILDING IMPLODES", "Mayhem wrapped the foundation columns\n of ten buildings with blasting\n gelatin. In two minutes, primary\n charges will blow base charges, and", "JACK (V.O.)\n It looked like it was waiting to be\n torn down. Most of the windows were\n boarded up.", "Jack, gaping at the sight above him, absently gives the\n Cabbie money. The taxi pulls away. Jack starts toward the\n building. He pushes through the fray of people, into the...", "JACK (V.O.)\n The house became a living thing, wet\n inside from so many people sweating\n and breathing. So many people\n moving, the house moved.\n\n Jack walks out.", "Jack, sweating and panting, stops, looks... then heads\n toward the BUILDING with the address \"1888.\"\n\n EXT. 1888 LOBBY", "JACK (V.O.)\n None of the doors locked. The stairs\n were ready to collapse. I didn't\n know if he owned it or he was\n squatting.", "They carry Marla into the BUILDING'S ENTRANCE.\n\n Jack leans against the railing, exhausted.", "Jack TUMBLES horribly down... HITS BOTTOM, striking his head\n on the floor. Jack PASSES OUT...\n\n FADE TO BLACK:", "JACK (V.O.)\n Nothing worked. The rusty plumbing\n leaked. Turning on a light meant\n another light in the house went out.", "those buildings will be reduced to\n smoldering rubble. I know this\n because Tyler knows this.", "He PUNCHES himself in the stomach, then in the jaw again.\n He reels backwards, pulls down a hanging shelf, its contents\n flying. He hits the floor.", "JACK (V.O.)\n Afterwards, we all felt saved.\n\n INT. HOSPITAL EMERGENCY ROOM - NIGHT", "The taxi turns a corner and Jack sees the front of the\n building. A diffuse CLOUD of SMOKE wafts away from a BLOWN-", "JACK (V.O.)\n -- Or when a volcanic blast of debris\n that used to be your furniture and\n personal effects blows out your floor-\n to-ceiling windows and sails flaming\n into the night.", "The speaker breaks down, WEEPS UNCONTROLLABLY.\n\n Jack watches. A couple of the men go up to the speaker,\n comforting him, leading him away. A LEADER takes the stand.", "The rescuers keep running.\n\n MARLA\n (calling after)\n The girl who lives there used to be\n a charming, lovely girl, but she's\n lost faith in herself...", "Tyler looks out the windows, at SURROUNDING BUILDINGS,\n excited. Jack closes his eyes, despairing.\n\n TYLER\n 5... 4... 3... 2...", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain." ], [ "TYLER\n Fight club was the beginning. Now\n it's out of the basements and there's a\n name for it -- Project Mayhem.", "RICKY\n But, in Project Mayhem, we have no\n names.\n\n JACK\n No! Wrong! This man's name is\n Robert Paulson.", "TYLER\n The first rule of fight club is --\n you don't talk about fight club. The\n second rule of fight club is -- you", "JACK (V.O.)\n You weren't alive anywhere like you\n were there. But fight club only\n exists in the hours between when\n fight club starts and when fight club\n ends.", "JACK\n You're welcome.\n\n JACK (V.O.)\n Fight club -- this was mine and\n Tyler's gift... our gift to the world.", "RICKY\n But, this is Project Mayhem.\n\n JACK\n No, no. This is a man -- this man\n has a name...", "TYLER\n What do you want to know about\n Project Mayhem?\n\n RICKY AND MECHANIC\n (together)\n The first rule of Project Mayhem --", "Boss slaps a piece of PAPER down on Jack's desk.\n\n BOSS\n \"The first rule of fight club is you\n don't talk about fight club.\"", "TYLER\n Bob was a grown man. In any great\n struggle, there will be casualties.\n Wouldn't that be implicit in the\n name? Project \"Mayhem.\"", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "rule -- fights go on as long as they\n have to. And the eighth and final\n rule -- if this is your first night\n at fight club, you have to fight.", "JACK (V.O.)\n Who you were in fight club is not who\n you were in the rest of the world.\n\n INT. PHOTOCOPY ROOM - DAY", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "JACK (V.O.)\n A guy came to fight club for the\n first time, his ass was a wad of\n cookie dough. After a few weeks, he\n was carved out of wood.", "JACK (V.O.)\n After fight club, everything else in\n your life gets the volume turned\n down. You can deal with anything.\n\n BOSS\n Have you finished those reports?", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "TYLER\n Tyler Durden.\n\n Tyler offers his hand. Jack takes it.\n\n TYLER\n You know why they have oxygen masks\n on planes?", "TYLER\n Shut up! Which means a lot of you\n have been breaking the first two\n rules of fight club.\n\n A glum silence falls. Guys look at each other.", "BRUISED PATRON #1\n Is it true about fight club in Miami?\n\n BRUISED PATRON 12\n Is Mr. Durden building an army?" ], [ "JACK (V.O.)\n -- And, again, at \"Seize The Day,\" my\n tuberculosis Friday night.\n\n CUT BACK TO:", "JACK (V.O.)\n I wasn't really dying, I wasn't host\n to cancer or parasites; I was the\n warm little center that the life of\n this world crowded around.", "JACK (V.O.)\n Under and behind and inside\n everything this man took for granted,\n something horrible had been growing.", "JACK (V.O.)\n Bob loved me because he thought my\n testicles were removed too. Being\n there, my face against his tits,\n ready to cry -- this was my vacation.", "MARLA\n Why do you do it?\n\n JACK\n I... I don't know. I guess... when\n people think you're dying, they\n really listen, instead...", "JACK (V.O.)\n Under and behind and inside\n everything I took for granted,\n something horrible had been growing.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK (V.O.)\n The girl had done her homework.\n\n JACK\n I want ascending bowel cancer.", "JACK (V.O.)\n She had no diseases at all. I had\n seen her at my melanoma Monday night\n group ...\n\n INT. CATHOLIC CATHEDRAL - NIGHT", "MARLA\n You take tuberculosis. My smoking\n doesn't go over at all.\n\n JACK\n I think testicular cancer should be\n no contest.", "Taking the lectern is CHLOE, a pale, sickly girl whose skin\n stretches yellowish and tight over her bones. She wears a\n head bondage. She clears her throat.", "JACK (V.O.)\n I am Jack's Raging Bile Duct.\n\n Tyler lights his cigarette.\n\n TYLER\n You're sure?", "Jack moves into a \"group hug\" of sickly people, men and\n women. In view is a sign by the door \"Free and Clear.\"\n\n INT. OFFICE BUILDING BASEMENT - NIGHT", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "JACK (V.O.)\n If only I had wasted a couple of\n minutes and gone to watch Marla die,\n none of this would have happened.\n\n INT. LIVING ROOM - NIGHT", "LEADER\n Tell the other person how you feel.\n\n JACK\n You're a tourist. I saw you at\n melanoma, tuberculosis and testicular\n cancer.", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:", "MARLA\n Do you want to wait to hear me\n describe death?\n\n Jack puts the handset on top of the phone, still off the\n hook, walks out the back door.", "JACK (V.O.)\n And suddenly, I felt nothing. I\n couldn't cry. So, once again, I\n could not sleep.", "JACK (V.O.)\n The house became a living thing, wet\n inside from so many people sweating\n and breathing. So many people\n moving, the house moved.\n\n Jack walks out." ], [ "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "TYLER\n Tyler Durden.\n\n Tyler offers his hand. Jack takes it.\n\n TYLER\n You know why they have oxygen masks\n on planes?", "JACK (V.O.)\n Let me tell you a little bit about\n Tyler Durden.\n\n EXTREME CLOSE-UP - FILM FRAME", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "JACK\n I'm looking for Tyler Durden.\n\n BARTENDER\n Never heard of him.", "JACK\n Why do people think I'm Tyler Durden?\n\n TYLER\n Why did you do that?\n\n JACK\n Answer me, Tyler.", "JACK\n Because... I'm Tyler Durden.", "TYLER\n Tyler Durden.\n\n Tyler extends his hand for a shake, but Lou SLAPS it away.", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "--------------------------------------------------------------\n\n SCREEN BLACK\n\n JACK (V.O.)\n People were always asking me, did I\n know Tyler Durden.", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "TYLER\n What do you want to know about\n Project Mayhem?\n\n RICKY AND MECHANIC\n (together)\n The first rule of Project Mayhem --", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "TYLER\n Fight club was the beginning. Now\n it's out of the basements and there's a\n name for it -- Project Mayhem.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "Tyler looks at Jack, looks at the C.K. advertisement.\n\n TYLER\n Self-improvement is masturbation.\n Self-destruction is the answer.", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "JACK (V.O.)\n I am Jack's Raging Bile Duct.\n\n Tyler lights his cigarette.\n\n TYLER\n You're sure?", "JACK\n You're welcome.\n\n JACK (V.O.)\n Fight club -- this was mine and\n Tyler's gift... our gift to the world." ], [ "JACK (V.O.)\n I never gave my real name at support\n groups.\n\n JACK\n Hi, Chloe.", "JACK (V.O.)\n She'd invaded my support groups, now\n she's invading my home.", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK\n (quietly)\n How did you find me?\n\n MARLA\n The forwarding number. I haven't\n seen you at any support groups.", "JACK (V.O.)\n Marla -- the big tourist. Her lie\n reflected my lie.", "JACK (V.O.)\n She had no diseases at all. I had\n seen her at my melanoma Monday night\n group ...\n\n INT. CATHOLIC CATHEDRAL - NIGHT", "Marla walks out, The support group's dispersing. Jack\n exits amongst them. He spots Marla walking away.", "JACK\n These are my groups. I was here\n first. I've been coming for a year.\n\n MARLA\n A year? How'd you manage that?", "JACK (V.O.)\n This was a support group for men with\n testicular cancer. The big moosie\n slobbering all over me was Bob.", "MARLA\n Whatever.\n\n JACK\n Really... I mean it.\n (pause)\n Have you been going to your groups?", "LEADER\n Tell the other person how you feel.\n\n JACK\n You're a tourist. I saw you at\n melanoma, tuberculosis and testicular\n cancer.", "Jack moves into a \"group hug\" of sickly people, men and\n women. In view is a sign by the door \"Free and Clear.\"\n\n INT. OFFICE BUILDING BASEMENT - NIGHT", "JACK\n Look, I can't cry with a faker\n present.\n\n MARLA\n Candy-stripe a cancer ward. It's not\n my problem.", "Jack walks along. He stops, looking at a CHURCH with\n SUPPORT-GROUP-PEOPLE milling around the entrance, drinking\n coffee and sodas. Marla's there, amongst them, smoking.", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "JACK\n I'll expose you.\n\n MARLA\n Go ahead. I'll expose you.\n\n LEADER\n Share yourself completely.", "JACK\n Look, this is a bad time...\n\n MARLA\n I've been going to debtor's\n anonymous. You want to see some\n truly fucked up people?", "Taking the lectern is CHLOE, a pale, sickly girl whose skin\n stretches yellowish and tight over her bones. She wears a\n head bondage. She clears her throat.", "Tyler studies her with cynical curiosity, looks at a DILDO\n lying atop a dresser. Marla follows his gaze.", "Jack stands with a weeping middle-aged WOMAN. He begins to\n cry along with her. A sign by the door: \"Onward and Upward.\"" ], [ "JACK\n Bob is dead, Tyler. The police blew\n a hole in his head. Was that part of\n your plan?\n\n Tyler thinks, shrugs.", "TYLER (O.S.)\n Go ahead. Say it.\n\n JACK\n You get the idea.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "those buildings will be reduced to\n smoldering rubble. I know this\n because Tyler knows this.", "TYLER\n Not an option, for the most obvious\n of reasons. You need to get with the\n program.\n (looks at his watch)\n Seven minutes. Let's get out of here.", "TYLER\n I did that for you. As a gesture.\n Now, how fast can you run? There are", "TYLER\n Soap -- the yardstick of civilization.\n (reaches in his pocket)\n I make and sell soap...", "TYLER\n (still walking away)\n What?\n\n JACK\n (COCKS the gun)\n Defuse the bomb.\n\n Tyler stops walking.", "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "Tyler pulls the stolen car away from the curb. It has two\n bumperstickers: \"RECYCLE YOUR ANIMALS\" and \"MAKE MINE VEAL.\"", "TYLER\n Damn it! God-damn it...\n\n JACK\n Not exactly according to plan.", "TYLER\n (looking out window)\n This is the beginning. We're at\n ground zero. Maybe you should say a\n few words, to mark the occasion.", "TYLER\n Imagine how he feels.\n\n Tyler brings the gun to his own head, pulls the trigger --\n CLICK. Empty.", "TYLER\n One minute.\n (looking out window)\n This is the beginning. We're at\n ground zero. Maybe you should say a\n few words, to mark the occasion.", "TYLER\n Yes, it is.\n\n LOU\n Look, stupid fuck, I want everyone\n outta here now!", "LOU\n He don't own this place, I do. How\n much money's he getting for this?\n\n TYLER\n There is no money.", "TYLER\n \"I get cancer, and I kill Joe.\"\n\n Tyler tosses his article in a pile of other articles,\n chooses another magazine.", "TYLER\n Human Sacrifice.\n\n Jack turns white, staring at the gun.", "JACK\n What's this all about, Tyler?\n\n TYLER\n And, we're definitely filling a void\n in the rural South." ], [ "TYLER\n Fight club was the beginning. Now\n it's out of the basements and there's a\n name for it -- Project Mayhem.", "TYLER\n You're welcome to join our club.\n\n LOU\n Did you hear what I just said?!\n\n TYLER\n You and your friend.", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "TYLER\n Shut up! Which means a lot of you\n have been breaking the first two\n rules of fight club.\n\n A glum silence falls. Guys look at each other.", "TYLER\n I see in fight club the strongest and\n smartest men who have ever lived --\n an entire generation pumping gas and\n waiting tables; or they're slaves\n with white collars.\n (more)", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "TYLER\n What are you doing running through\n the streets in your underpants? We\n both use that body.\n\n JACK\n Since when is Project Mayhem about\n murder?", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "TYLER\n ...your sentences! They're\n our sentences. Get your mind around\n that.\n\n Tyler gets up walks to Jack.", "TYLER\n The first rule of fight club is --\n you don't talk about fight club. The\n second rule of fight club is -- you", "TYLER (cont)\n We do your laundry, cook your food\n and serve you dinner. We guard you\n while you sleep. We drive your\n ambulances. Do not fuck with us.", "TYLER\n What do you want to know about\n Project Mayhem?\n\n RICKY AND MECHANIC\n (together)\n The first rule of Project Mayhem --", "TYLER\n Is this a needlepoint club? Is it\n about you and me?\n\n JACK\n You know what I mean.", "Tyler looks at Jack, looks at the C.K. advertisement.\n\n TYLER\n Self-improvement is masturbation.\n Self-destruction is the answer.", "JACK\n What's this all about, Tyler?\n\n TYLER\n And, we're definitely filling a void\n in the rural South.", "TYLER\n This does not belong to us. We are\n not the leaders. We are not special.\n\n JACK\n What are you doing?!", "TYLER\n We'll send one to the New York Times\n and one to the Los Angeles Times.\n Press release style. Your nuts will", "TYLER (O.S.)\n Go ahead. Say it.\n\n JACK\n You get the idea.", "TYLER\n (looking out window)\n This is the beginning. We're at\n ground zero. Maybe you should say a\n few words, to mark the occasion.", "The guys mill around, finding partners. Everyone brims with\n eagerness, but tries to act cool. CHATTER gets LOUDER.\n Everyone spreads out, forming a circle, Tyler at center." ], [ "JACK (V.O.)\n This was a support group for men with\n testicular cancer. The big moosie\n slobbering all over me was Bob.", "Jack walks along. He stops, looking at a CHURCH with\n SUPPORT-GROUP-PEOPLE milling around the entrance, drinking\n coffee and sodas. Marla's there, amongst them, smoking.", "JACK\n These are my groups. I was here\n first. I've been coming for a year.\n\n MARLA\n A year? How'd you manage that?", "JACK (V.O.)\n She had no diseases at all. I had\n seen her at my melanoma Monday night\n group ...\n\n INT. CATHOLIC CATHEDRAL - NIGHT", "Marla walks out, The support group's dispersing. Jack\n exits amongst them. He spots Marla walking away.", "JACK (V.O.)\n She'd invaded my support groups, now\n she's invading my home.", "JACK\n (quietly)\n How did you find me?\n\n MARLA\n The forwarding number. I haven't\n seen you at any support groups.", "Jack moves into a \"group hug\" of sickly people, men and\n women. In view is a sign by the door \"Free and Clear.\"\n\n INT. OFFICE BUILDING BASEMENT - NIGHT", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK (V.O.)\n I became addicted.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "MARLA\n Whatever.\n\n JACK\n Really... I mean it.\n (pause)\n Have you been going to your groups?", "Fight club surrounds Tyler. They help him up, move him to\n a crate. Tyler sits slumped for a long moment, his", "JACK (V.O.)\n I never gave my real name at support\n groups.\n\n JACK\n Hi, Chloe.", "JACK (V.O.)\n A guy came to fight club for the\n first time, his ass was a wad of\n cookie dough. After a few weeks, he\n was carved out of wood.", "JACK (V.O.)\n Next group, after guided meditation,\n after we open our chakras, when it's", "JACK (V.O.)\n ... and at \"Free and Clear,\" my blood\n parasites group Thursdays.\n\n Jack leans out further than the others, scornful.", "JACK (V.O.)\n For six months. I could not sleep.\n\n INT. COPY ROOM - DAY", "Jack stares at a group of men, including Bob, who are all\n listening to a group member speak at a lectern. The SPEAKER\n has pale skin and sunken eyes -- he's clearly dying.", "JACK (V.O.)\n -- And, again, at \"Seize The Day,\" my\n tuberculosis Friday night.\n\n CUT BACK TO:", "JACK\n Look, this is a bad time...\n\n MARLA\n I've been going to debtor's\n anonymous. You want to see some\n truly fucked up people?" ], [ "JACK (V.O.)\n Home was a condo on the fifteenth\n floor of a filing cabinet for widows\n and young professionals. The walls", "JACK (V.O.)\n There were no neighbors. Just\n warehouses and the paper mill. The\n fart smell of steam, the hamster cage\n smell of wood chips.", "JACK (V.O.)\n Bob loved me because he thought my\n testicles were removed too. Being\n there, my face against his tits,\n ready to cry -- this was my vacation.", "JACK (V.O.)\n I'm a recall coordinator. My job is\n to apply the formula. It's a story\n problem.", "JACK (V.O.)\n Under and behind and inside\n everything this man took for granted,\n something horrible had been growing.", "JACK (V.O.)\n I already knew the story before he\n told it to me.\n\n INT. KITCHEN - LATE AFTERNOON (FLASHBACK)", "JACK (V.O.)\n He was wearing a yellow tie. It must\n be Thursday. I didn't even wear a tie\n to work anymore.", "JACK (V.O.)\n It must've been Tuesday. he was\n wearing his \"cornflower-blue\" tie.", "JACK (V.O.)\n The house became a living thing, wet\n inside from so many people sweating\n and breathing. So many people\n moving, the house moved.\n\n Jack walks out.", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:", "JACK (V.O.)\n The previous occupant had been a bit\n of a shut-in.\n\n TYLER\n (of magazine)\n Hum.", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "JACK (V.O.)\n I had to hug the walls, trapped\n inside this clockwork of Space\n Monkeys, cooking and working and\n sleeping in teams.\n\n INT. READING ROOM - NIGHT", "Jack snuffs his cigarette in an ashtray, stares up stoically.\n\n JACK (V.O.)\n I must've left the original in the\n copy machine.", "JACK (V.O.)\n Under and behind and inside\n everything I took for granted,\n something horrible had been growing.", "JACK (V.O.)\n For six months. I could not sleep.\n\n INT. COPY ROOM - DAY", "JACK (V.O.)\n I had it all. Even the glass dishes\n with tiny bubbles and imperfections,\n proof they were crafted by the\n honest, simple, hard-working\n indigenous peoples of wherever.", "institution. They say he only sleeps\n one hour a night. You know about\n this guy? Tyler Durden?", "The DRIVER has a broken nose. The bus is empty, except for\n Jack, in the very last seat, sleepy.", "JACK (V.O.)\n That old saying, how you always hurt\n the one you love, well, it works both\n way.\n\n Jack turns so that he can see down -- 31 STORIES." ], [ "Tyler hits the ground. The back of TYLER'S HEAD is BLOWN\n OPEN, revealing blood, skull and brain.", "TYLER\n \"I get cancer, and I kill Joe.\"\n\n Tyler tosses his article in a pile of other articles,\n chooses another magazine.", "JACK\n Bob is dead, Tyler. The police blew\n a hole in his head. Was that part of\n your plan?\n\n Tyler thinks, shrugs.", "TYLER\n Imagine how he feels.\n\n Tyler brings the gun to his own head, pulls the trigger --\n CLICK. Empty.", "and pulls, the necktie tightening and strangling Lou. Lou\n slaps at Tyler's face, but recoils from the blood. Tyler\n spits and shouts through clenched teeth...", "Lou proceeds to beat the shit out of Tyler, PUNCHING his\n face, his stomach. Tyler collapses to the floor. Lou\n starts KICKING his. Tyler bleeds from the mouth and face.", "TYLER\n What did you want to be, Raymond K.\n Hessel?\n\n Raymond weeps and says nothing. Tyler COCKS the gun.\n Raymond GASPS.", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "Tyler scratches his head, wears a RUBBER GLOVE.\n\n TYLER\n You want to finish her off?\n\n JACK\n Uh... nah...", "Finally, Angel Face lies still, unconscious. Jack stops,\n stares down, numb. Jack walks away -- the crowd parts to\n let him pass. Jack scans faces... finds Tyler.", "(pause)\n But, it started to make sense... in\n a Tyler sort of way. No fear. No\n distractions. The ability to let", "Jack looks at Tyler -- they lock eyes. Jack does his best\n to stifle his spasms of pain, his body a quivering, coiled\n knot. He bolts toward the sink, but Tyler holds on.", "TYLER\n We need this place. We need it.\n Please let us keep it, please...\n\n Blood dribbles out of Tyler's mouth, spattering Lou.", "JACK\n Pardon me?\n\n Tyler turns to Jack.\n\n JACK (V.O.)\n This is how I met --", "TYLER\n \"Stuff.\" Were the mid-terms hard?\n\n Tyler rams the gun barrel against Raymond's temple.", "Tyler smiles.\n\n JACK (V.O.)\n How could Tyler, off all people, think\n it was a bad thing that Marla Singer\n was about to die?", "JACK (V.O.)\n Put a gun to my head and paint the\n wall with my brains.\n\n Tyler smokes.", "Tyler lets go of Lou's belt. Lou scrambles away. The Thug\n drops Tyler, trying to keep clear of the blood. Lou gets to", "RAYMOND\n No, please, no, God, no!\n\n Tyler moves the gun right between Raymond's eyes.\n\n RAYMOND\n NOOOOO!", "TYLER\n (still walking away)\n What?\n\n JACK\n (COCKS the gun)\n Defuse the bomb.\n\n Tyler stops walking." ], [ "JACK\n (pointing)\n How'd you do that?! You're a fucking\n figment of my imagination... you're\n psychogenic fugue state...", "JACK (V.O.)\n Under and behind and inside\n everything this man took for granted,\n something horrible had been growing.", "JACK\n What about Marla?\n\n TYLER\n What about Marla?\n\n JACK\n She's... you... you're fucking her.", "JACK\n Why do people think I'm Tyler Durden?\n\n TYLER\n Why did you do that?\n\n JACK\n Answer me, Tyler.", "MARLA\n Tyler Durden! Tyler Durden, you\n fucking freak. What's going on? I'm\n coming over there...\n\n JACK\n Marla, no, wait...", "JACK (V.O.)\n Who you were in fight club is not who\n you were in the rest of the world.\n\n INT. PHOTOCOPY ROOM - DAY", "JACK (V.O.)\n This ... chick ... Marla Singer ...\n did not have testicular cancer. She\n was a liar.\n\n INT. SMALL PROTESTANT CHURCH - NIGHT", "JACK\n Say my name.\n\n MARLA\n What... ?\n\n JACK\n Say my name! What's my name!?", "JACK (V.O.)\n Under and behind and inside\n everything I took for granted,\n something horrible had been growing.", "At the window, Tyler sips coffee, watches this scene on the\n PORCH below.\n\n JACK (V.O.)\n Sooner or later, we all became what\n Tyler wanted us to be.", "Jack looks exasperated, turns TO LOOK INTO THE CAMERA.\n\n JACK (V.O.)\n Picture yourself watching Marla\n Singer throw herself around her\n crummy apartment.", "JACK\n (takes a deep breath)\n I know that I've been... unwell. I\n know it's been like there's two sides\n to me.", "TYLER\n She is a wild, twisted bitch. Stay\n away from that one.\n\n JACK\n Oh, and my pace is more librarians.", "JACK\n I'll expose you.\n\n MARLA\n Go ahead. I'll expose you.\n\n LEADER\n Share yourself completely.", "JACK\n Why do people think I'm you?\n\n TYLER\n You broke your promise. You talked\n to her about me.", "JACK (V.O.)\n Somehow, I realize all of this -- the\n gun, the bombs, the revolution -- is\n really about Marla Singer.", "RICKY\n But, in Project Mayhem, we have no\n names.\n\n JACK\n No! Wrong! This man's name is\n Robert Paulson.", "RICKY\n But, this is Project Mayhem.\n\n JACK\n No, no. This is a man -- this man\n has a name...", "TYLER\n People think that you're me, because\n you and I happen to share the same\n body.\n\n JACK\n What... ?", "JACK (V.O.)\n Every evening I died and every\n evening I was born again. Resurrected.\n\n CUT BACK TO:" ] ]

[ "In the story, the unnamed Narrator visits a support group, who is the support group for?", "After discussing how to avoid attending the same groups, what does Marla give the Narrator upon going their separate ways?", "Who does the Narrator meet during his flight home from his business trip?", "What type of salesman is Tyler Durden?", "What conversation topic influenced the Narrator to move into Tyler's mansion?", "How is the fight club initially formed?", "In the story, who answers Marla's call for help when the Narrator ignores it?", "What does Tyler reveal to the Narrator when the Narrator sees him in his hotel room?", "How did the Narrator only kill Tyler and avoid killing himself?", "Who have problem falling asleep?", "What was Narrator addicted to?", "Who did Narrator met at support group?", "Who became Marla Singer sexual partner?", "What club Tyler formed?", "Where did Tyler met Narrator?", "What did Tyler review to Narrator?", "What was Tyler plan to erase his debt?", "Who shot Narrator?", "What happened when the building collapsed?", "What is the name given to the organization of fight clubs?", "What illness is it revealed that the narrator is suffering from?", "What is Tyler Durden's occupation?", "What is the name of the woman who, like the narrator, is also an imposter at support groups?", "What was Tyler's plan to erase debt?", "What type of club do Tyler and the narrator form that begin forming across the country?", "What is the first support group that the narrator attends in the story?", "What is the narrator's occupation in the story?", "How does the narrator \"kill\" Tyler?", "What character is actually a disassociated personality within the narrator?" ]

[ [ "Testicular Cancer victims.", "Testicular cancer victims" ], [ "Marla gives the Narrator her phone number.", "Her phone number." ], [ "The Narrator meets Tyler Durden.", "Tyler" ], [ "A soap salesman.", "Soap" ], [ "Consumerism. ", "Consumerism." ], [ "The club is formed by the Narrator and Tyler getting into fist fights outside of a bar on a regular basis that ends up attracting a regular crowd. ", "Tyler requested the Narrator to hit him." ], [ "Tyler.", "Tyler" ], [ "That Tyler and the Narrator are disassociated personalities in the same body. ", "they are 2 personalities in one body" ], [ "The Narrator only shoots himself through his cheek.", "Shooting himself in the cheek," ], [ "The narrator", "The Narrator." ], [ "He was addicted to partcipitating in support group.", "Participation in support groups." ], [ "Marla Singer", "marla singer" ], [ "Tyler", "tyler" ], [ "Fight Club", "Project Mayhem." ], [ "On a flight", "on a flight home from a business trip" ], [ "Tyler and Narrator are thesame person.", "They are dissociated personalities in the same body." ], [ "Tyler wanted to blow up credit card company building", "destroy the buildings that have credit card records" ], [ "Himself", "He shot himself." ], [ "Narrator and Marla were holding hand", "The Narrator and Marla look on." ], [ "\"Project Mayhem.\"", "project mayhem" ], [ "Insomnia.", "split personalities" ], [ "Soap Salesman.", "Soap salesman." ], [ "Marla Singer", "marla singer" ], [ "Destroying buildings that contain credit card companies' records.", "To blow up buildings with his credit card records." ], [ "A fight club.", "A fight club." ], [ "A support group for testicular cancer victims. ", "Testicular cancer victims" ], [ "A traveling automobile recall specialist.", "He is an auto recall specialist." ], [ "He fires a gun through his cheek.", "shoots himself in the mouth." ], [ "Tyler Durden.", "Tyler." ] ]

[ [ "the Christian faith, and fled away to the heathen woman, Hypatia, of\nwhom he is enamoured.'", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "'Recollect that you are a Christian,' answered Hypatia, half smiling.", "Gradually one fixed idea, as a light-tower, began to glimmer through the\nstorm.... To see Hypatia, and convert her. He had the patriarch's leave", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "Poor Hypatia! The bait was too delicate, the tempter too wily; and yet\nshe was ashamed to speak aloud the philosophic dogma which flashed a ray", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Christianity; and if, of course, Christianity should be found to be at\nvariance with that enlarged light, as Hypatia seemed to think ....", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Hypatia smiled in spite of herself at the notion. 'That would be too\nshameful! I must forego the god of light himself, if I am to see him in\nthe person of a clumsy barbarian.'", "'You seem wonderfully taken with the sophist of Hippo,' said Hypatia\nimpatiently; 'and forget, perhaps, that his opinions, especially when,", "Hypatia started, as at a new thought, and confessed--as every\nNeo--Platonist would have done--that she had never done so.", "He departed; and Hypatia, half dreading her own thoughts, sat down at\nonce to labour at the ode. Certainly it was a magnificent subject. What", "'I do, indeed!' said Hypatia. 'But I will not see the altar polluted by\nblood. It is the desecration which it has undergone already which has\nprovoked the god to withdraw the poetic inspiration.'", "Hypatia's arms dropped suddenly. Yes; it was true! The thought flashed\nacross her mind with mingled delight and terror.... Visions of her", "Hypatia was cowed; for of one thing there was no doubt,--that the woman\nutterly believed her own words; and that was a state of mind of which", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her" ], [ "death, not so easy. Besides, it was too early yet for so desperate a\nmove as would be involved in the violation of a church .... So Orestes\nadded this fresh item to the long column of accounts which he intended", "That evening was a hideous one in the palace of Orestes. His agonies\nof disappointment, rage, and terror were at once so shameful and so", "'The murderers. They are in sanctuary now at the Caesareum. Orestes sent\nme to demand them: and this fellow defies him openly!' And the tribune\nhurried out.", "from behind. The crowd parted, and disclosed the apparitors of Orestes,\nwho followed in his robes of office.", "Orestes, after looking vainly round the room for a place to escape, had\nquietly subsided into his chair again; and by the time that the slaves", "towards his idol. Alas! he was torn down himself, rolled over the steps,\nand lay there half dead in an agony of weeping, as Philammon sprang up\npast him into the church.", "one witness, at least, of his treason. And then arose a tumult, which\nOrestes in vain attempted to subdue. Whether the populace believed the", "'You lie!' said Orestes.... 'I would much sooner believe that you have\nbeen warning the hag to keep out of the way.'\n\nOrestes had spoken, for that once in his life, the exact truth.", "them that they had been taken in--that Alexander's church had never\nbeen on fire at all--that the Jews had murdered a thousand Christians\nat least, though three dead bodies, including the poor priest who lay", "eyes, and judge for yourself. There you may see what sort of saints are\nbred by this plan of managing the Catholic Church. There comes one of\nthem. Now! I say no more!'", "'I? Pallas forbid!' said Orestes, finding himself on the wrong path\nagain. 'But recollect that the allowing this spectacle to take place\nmight rid you for ever of an unpleasant--I will not say rival.'", "'No! Eudaimon, it is the church of the devils of hell!' And gathering\nhimself up, he sat upon the steps and buried his head within his hands.", "As fate would have it, the passage by which he had entered opened close\nto the Prefect's chair of state, where sat Orestes, gorgeous in his", "'Amen!' quoth Orestes, with a sneer: and he would have said Amen in\ngood earnest, had he been able to take the liberty--which we shall--and\nlisten to Cyril's answer to Peter, the tall reader.", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "hands. Orestes alone rose with the crisis. Now, or never, was the time\nfor action; and stepping forward, with his most graceful obeisance,", "presence and under his sanction. He was in the right now, and Orestes in\nthe wrong; and in the right he would keep--at least till his express", "'We do not want them!' cried another. 'We managed Dioscuros and his\nbrother, and we can manage Orestes. What matter what answer he sends?\nThe devil shall have his own!'", "In another chamber, the door of which was guarded by armed men, Orestes\nwas walking up and down in high excitement, looking somewhat the worse\nfor the events of the past night, and making occasional appeals to a\ngold goblet which stood on the table.", "'We are ruined utterly already. Orestes? There is no help in him. I\nknow the man too well, my father, not to know that he would give us up" ], [ "That evening was a hideous one in the palace of Orestes. His agonies\nof disappointment, rage, and terror were at once so shameful and so", "Orestes, after looking vainly round the room for a place to escape, had\nquietly subsided into his chair again; and by the time that the slaves", "presence and under his sanction. He was in the right now, and Orestes in\nthe wrong; and in the right he would keep--at least till his express", "knock down these fellows right and left, and run for your life.' And\nOrestes drove on.", "In another chamber, the door of which was guarded by armed men, Orestes\nwas walking up and down in high excitement, looking somewhat the worse\nfor the events of the past night, and making occasional appeals to a\ngold goblet which stood on the table.", "Orestes, and you are in fetters as a fugitive.'", "'Oh, nothing. It's no business of mine. Only he is going to rebel ....\nBut here we are at your door.'\n\n'To what?' asked Orestes, in a horrified tone.", "from behind. The crowd parted, and disclosed the apparitors of Orestes,\nwho followed in his robes of office.", "'The murderers. They are in sanctuary now at the Caesareum. Orestes sent\nme to demand them: and this fellow defies him openly!' And the tribune\nhurried out.", "Orestes read it--and his countenance fell.\n\n'I have won?'\n\n'Out of the room, slaves! and no listening!'\n\n'I have won then?'", "'I? Pallas forbid!' said Orestes, finding himself on the wrong path\nagain. 'But recollect that the allowing this spectacle to take place\nmight rid you for ever of an unpleasant--I will not say rival.'", "Orestes swore a great oath.\n\n'Oh, that the mob had but one throat, that I might give them an emetic!\nWell, we must buy more corn, that's all.'", "'We are ruined utterly already. Orestes? There is no help in him. I\nknow the man too well, my father, not to know that he would give us up", "Orestes sat buried in deep thought.\n\n'Of course not,' said he at last, half unconsciously. And then, in\nsudden dread of having committed himself, he looked up fiercely at the\nJew.", "death, not so easy. Besides, it was too early yet for so desperate a\nmove as would be involved in the violation of a church .... So Orestes\nadded this fresh item to the long column of accounts which he intended", "'You lie!' said Orestes.... 'I would much sooner believe that you have\nbeen warning the hag to keep out of the way.'\n\nOrestes had spoken, for that once in his life, the exact truth.", "hands. Orestes alone rose with the crisis. Now, or never, was the time\nfor action; and stepping forward, with his most graceful obeisance,", "And really, Orestes's power of getting through business, when he chose,\nwas surprising enough. A cold head and a colder heart make many things\neasy.", "'She is my sister!'\n\n'Well, and what of that? Not that I believe you, you villain! So!' said\nOrestes, who comprehended the matter in an instant. 'Apparitors!'", "one witness, at least, of his treason. And then arose a tumult, which\nOrestes in vain attempted to subdue. Whether the populace believed the" ], [ "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "And then began a butchery.... Some fifty men, women, and children were\ncooped together in that narrow space.... And yet Hypatia's countenance", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Twenty years after Hypatia's death, philosophy was flickering down\nto the very socket. Hypatia's murder was its death-blow. In language", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her", "As Hypatia went forth the next morning, in all her glory, with a crowd\nof philosophers and philosophasters, students, and fine gentlemen,", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "of treachery: but the mass behind pressed them onward, and in swept\nthe murderers of Hypatia, till the court was full of choking wretches,", "True, he and his monks had conquered; but Hypatia did not die unavenged.\nIn the hour of that unrighteous victory, the Church of Alexandria", "But at least he was the only traitor. The rest of the Goths agreed\nunanimously that Hypatia was a very foolish person, who was wasting her", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia with horns and cloven feet, riding three hippopotami at\nonce round the theatre; Cyril standing at an open window, cursing", "And Hypatia, turning pale as death, drew her father with unphilosophic\nhaste down a side-walk.", "Hypatia reddened--was Orestes, after all laughing in his sleeve at her\nand her hopes?\n\n'Do not blaspheme!' she said solemnly.", "But he was a Jew, and a man: Hypatia was a Greek, and a woman--and for\nthat matter, so were the men of her school. To her, the relations", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "chorus, and saluted Orestes as Emperor; while Hypatia, amid the shouts\nof her aristocratic scholars, rose and knelt before him, writhing" ], [ "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "'Recollect that you are a Christian,' answered Hypatia, half smiling.", "'No, father. What I know, henceforth I will know for myself only.\nHypatia will be from this day alone with the Immortal Gods!'\n\n'You will not leave me?' cried the old man, terrified.", "'Anything to bribe a convert,' said Hypatia contemptuously.", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "Christianity; and if, of course, Christianity should be found to be at\nvariance with that enlarged light, as Hypatia seemed to think ....", "Hypatia was silent. One terrible possibility at which he had hinted\nflashed across her memory for the first time since;.... but she spurned\nproudly from her the heaven-sent warning.", "Poor Hypatia! At first she determined not to lecture--then to send for\nOrestes--then to call on her students to defend the sanctity of the", "the Christian faith, and fled away to the heathen woman, Hypatia, of\nwhom he is enamoured.'", "Hypatia smiled in spite of herself at the notion. 'That would be too\nshameful! I must forego the god of light himself, if I am to see him in\nthe person of a clumsy barbarian.'", "'I do, indeed!' said Hypatia. 'But I will not see the altar polluted by\nblood. It is the desecration which it has undergone already which has\nprovoked the god to withdraw the poetic inspiration.'", "Poor Hypatia! The bait was too delicate, the tempter too wily; and yet\nshe was ashamed to speak aloud the philosophic dogma which flashed a ray", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "'Go now, my pupils. Hypatia has no more for you to-day. Go now, and\nspare her at least--woman as she is after all--the shame of finding", "theatre itself. But Hypatia sat still in her chamber, her face buried in\nher hands, her heart full of many thoughts; her eyes of tears. She had", "Hypatia sighed. 'Ah, that your excellency but saw the great duel which\ndepends on you alone! Do not fancy that the battle is merely between\nPaganism and Christianity--'" ], [ "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "She saw him look up at her, dropped her eyes modestly, and bustled away\nwith the remnants, while Philammon and his host started for Hypatia's\nlecture-room.", "and Philammon followed him, not daring to look back at Hypatia, while\nthe whole room swam before his eyes.", "Such was the conversation which passed between Hypatia and Orestes half\nan hour after Philammon had taken possession of his new abode.", "Philammon recoiled across the pavement, with eyes flashing defiance. A\nslave! The light of heaven grew black to him.... Oh, that Hypatia might\nnever know his shame! Yet it was impossible. Too dreadful to be true....", "Philammon did understand, however, so much as this, that Hypatia was a\nvery unique and wonderful person in the mind of his little guide; and\ntherefore asked the only further question by which he could as yet test\nany Alexandrian phenomenon--", "In ten minutes more Philammon was in Hypatia's hall. The household\nseemed full of terror and disturbance; the hall was full of soldiers. At", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "And she departed to her incantations; while Hypatia threw herself upon\nher bed at home, and filled the chamber with a long, low wailing, as", "Hypatia watched all this with growing self-satisfaction, and fed herself\nwith the dream that through Philammon she might see her wildest hopes", "Philammon hurried home with Eudaimon. Little cared he now for Hypatia's\nwarning against Miriam.... Was he not in search of a sister?", "Hypatia's chamber, while Philammon stood expectant; possessed with a new\nand fearful doubt. 'Degrade herself!' 'Contaminate her purity!' If", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "'There is Miriam again,' said Philammon, 'right before us!'\n\n'Miriam?' asked Hypatia severely. 'You know her then? How is that?'", "The girls vanished accordingly, whispering and laughing; and Philammon\nfound himself alone. Although he was somewhat soothed by the old woman's", "Philammon looked round for the negress, but she had vanished. He was far\ntoo much ashamed of being known to have been alone with a woman to say", "She ended: and Philammon, the moment that the spell of her voice was\ntaken off him, sprang up, and hurried out through the corridor into the\nstreet....", "scramble over the benches up to him; and Philammon was congratulating\nhimself on the near approach of a glorious martyrdom, when Hypatia's", "It was over in a few seconds. The Goth lifted Philammon like a baby in\nhis arms, and bearing him to the parapet, attempted to hurl him into the", "towards his idol. Alas! he was torn down himself, rolled over the steps,\nand lay there half dead in an agony of weeping, as Philammon sprang up\npast him into the church." ], [ "And Pelagia heard what he said.\n\nGradually, amid sobs and tears, and stormy confusion of impossible hopes\nand projects, those words took root in her mind, and spread, till they\nfilled her whole heart and brain.", "Pelagia was silent.\n\n'I wish to deliver my sister, a Christian, from the sinful embraces of\nan Arian heretic; and deliver her I will, or die!'", "'She! Who?'\n\n'My sister! Pelagia!'", "Pelagia put her hands over her eyes, and burst into tears. Were they of\npity or of joy?... She did not ask herself; and we will not ask her.", "Miriam made interrogative signs, which Pelagia understood as asking her\nwhether she was alone; and the moment that an answer in the negative was", "Philammon misinterpreted the intense interest of her tone, and if he did\nnot shrink back, gave some involuntary gesture of reluctance. Pelagia\nlaughed aloud.", "'Who spoke to you, you stupid darling?' answered Pelagia, who lived in\nhourly fear of thunderstorms. 'Who is going to be cross with any one,", "'Pelagia, Pelagia, darling sister!' cried Philammon, in an agonised\nvoice, 'think of the doom of sin! Think of the pains of hell!'", "'Do I not love you? But not as I love him! Oh, hush, hush!--, you cannot\nunderstand yet!' And Pelagia hid her face in her hands, while convulsive\nshudderings ran through every limb....", "'Pelagia, of course. I met that prettiest and naughtiest of humanities\nhalf-way between here and Thebes, transformed into a perfect Andromache\nof chaste affection.'\n\n'And to whom, pray?'", "Before he could stop her, Pelagia had sprung from her cushions, and\nthrown herself into the midst of the laughing ring of wild beasts.\n\n'Spare him! spare him for my sake!' shrieked she.", "'But there is Pelagia in the way.'\n\n'Put her out of the way, then.'\n\n'Impossible.'", "The old woman set her lips firmly, and drew her dagger. Pelagia wrapped\nher face in her cloak, and stood trembling, bowed down, as if expecting", "Pelagia looked tip at him wide-eyed, as if her mind was taking in slowly\nsome vast new thought, under the weight of which it reeled already. Then\nshe rose slowly.\n\n'And he might be Emperor of Africa.'", "And forth stepped a figure, at which Philammon's eyes opened wider than\nthey had done even at the sight of Pelagia. Whatever thoughts the rich", "Pelagia read it with blanching cheek and staring eyes; and took, at\nleast, the last part of Miriam's advice. For walking down the stair, she", "'Not you, surely,' said Pelagia. 'Oh, you wonderful creature! what\nthings you have done and suffered!'", "Pelagia, like a child caught playing with a forbidden toy, hid her face\nin her hands and cowered down.\n\n'What is it?' cried he, lifting her.", "Pelagia, during the saga, had remained looking into the fountain, and\nplaying with the water-drops, in assumed indifference. Perhaps it was to", "'No!' said Pelagia, looking up. 'No love-potions! No poisons!'" ], [ "off, hanging about the mouth of the side street, just opposite the\ndoor which led to her lecture-room? He moved to watch them: they had\nvanished. He lay down again and waited.... There they were again. It was", "themselves, when the next morning dawned, among the countless masts and\nnoisy quays of the greatest seaport in the world. The motley crowd of", "city, at right angles, by one equally magnificent, at each end of which,\nmiles away, appeared, dim and distant over the heads of the living", "It was over. The shrieks had died away into moans; the moans to silence.\nHow long had he been there? An hour, or an eternity? Thank God it was", "'But how far off?'\n\n'About three miles; near the gate of the Moon.'\n\n'Why, was not that the gate by which we entered the city on the other\nside?'", "There he sat and watched, and watched, and watched in vain for some\nglimpse of his one object. Which of the houses was hers? Which was the\nwindow of her chamber! Did it look into the street? What business had", "that now, except in some little remote county bishopric, which no one\never hears of from year's end to year's end. But in the cities it is", "The sun sank towards his rest; the roar of the city grew louder and\nlouder without; the soldiers revelled and laughed below: but every sound", "He made some sudden movement. She looked down, saw him, and shutting\nthe blind, vanished for the night. In vain, now that the temptation had", "accursed city. And he counted impatiently the slow hours and minutes\nwhich detained him in an atmosphere which seemed reeking with innocent\nblood, black with the lowering curse of an avenging God. More than once,", "answered there. Another--still silence and despair!.... He rushed\nupstairs, hoping that from the windows above he might be able to call to", "ill-deeds done in this city. You will find among these papers the\ntrust-deeds for such a yearly sum of money as will enable you to hire", "The old man looked after her, anxiously and perplexed, and then\nfollowed, hesitating. She was sitting at the table, her face buried", "'Ah, boy, you have yet to learn city fashions! When you are a little\nolder, instead of speaking unpleasant truths to a fine lady with a cross", "Five minutes afterwards, Philammon, dripping, bruised, and bleeding, was\ncrawling up the water-steps at the lower end of the lane. A woman rushed", "It was all over in a minute.... The negress was kneeling under the\ngateway, pouring out her simple thanks to Heaven for this unexpected", "At last the heavy tramp of footsteps was heard coming down the street,\nand every window was crowded in an instant with eager heads; while Peter", "So spoke the stewardess: but Hector rushed From the house, the same way\nback, down stately streets, Through the broad city, to the Scaian gates,", "At last a curricle, glittering with silver, rattled round the corner\nand stopped opposite him. She must becoming now. The crowd had vanished.", "rudely broken in on the repose of the Scetis. Their repose, at least,\nwas still untouched. The great city roared without; Orestes plotted," ], [ "'Oh, the monks know everything,' said Pelagia. 'They go hundreds and\nthousands of miles up the river, and cross the deserts among fiends and\nmonsters, where any one else would be eaten up, or go mad at once.'", "'Here he is, prince, with his elbows safe behind him.' And a tall,\nhaggard, half-naked monk was dragged forward.", "'It is the monk! the young man I told you of, who saved me from the Jews\nthe other night! What good angel sent him here that I might thank him?'\ncried the poor creature, while the tears ran down her black shining\nface.", "the monastery towards the desert; whom the whole fraternity followed\nweeping, as knowing that they should see his face no more. But he,\nhaving arrived at the foot of a certain mountain, stopped, and blessing", "'Thou art late, son,' said the abbot, steadfastly working away at his\npalm-basket, as Philammon approached.\n\n'Fuel is scarce, and I was forced to go far.'", "'Look,' said the old abbot, stretching his hand toward the Eastern\ndesert, 'and judge, like a wise man, for thyself!'", "'She? He! I, a monk, brought the news! Cyril has known it--every Jew in\nthe Delta has known it, for a week past! So perish all the enemies of\nthe Lord, caught in their own snare!'", "In the four hundred and thirteenth year of the Christian Era, some three\nhundred miles above Alexandria, the young monk Philammon was sitting on", "'Only you are not quite a man yet, but half a monk still, eh? I must\nknow that before I help you, my pretty boy. Are you a monk still, or a\nman?'\n\n'What do you mean?'", "The monk laughed. 'Pardon? Pardon me eternal bliss, and the things\nunspeakable, which God has prepared for those who love Him? Tyrant and", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "of the two was a harlot, and the other a heathen.' The old monk laid his\nhand on his mouth, and retired.", "'Here is my mouse, gentlemen,' answered the old monk, with a bow and\na smile, as he laid his hand on Philammon's arm, and presented to his", "He was pale as death, but calm as death. One look into his face told\nthem that he knew all.\n\n'Young monk,' he said, between his closed teeth, 'you seem to have loved\nher?'", "'Hands off, old Heautontimoroumenos! He belongs to our guild now! Monks\nhave no more business with sons than with wives. Shall we hustle him for\nyou, Philammon?'", "For two days the young monk held on, paddling and floating rapidly down\nthe Nile-stream, leaving city after city to right and left with longing", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "being a monk. And so he threw himself on a truckle-bed, in one of the\nmany cells which opened off a long corridor, and fell fast asleep in a\nminute.", "'Miriam?'\n\n'Yes, monk; a name not unknown, I am told, in palaces as well as in\nslave-markets.'\n\n'An evil-eyed old Jewess?'", "'Monks?' said Philammon. 'I am at open feud with the whole order.'\n\n'Make friends with them, then,' shortly suggested Smid." ], [ "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "Philammon, furious at the notion of persecution, maddened by the cries\naround him, found himself bursting fiercely through the crowd, till he", "So Philammon went out with the parabolani, a sort of organised guild\nof district visitors.... And in their company he saw that afternoon", "So indeed Philammon seemed; for, springing suddenly to his feet, he\nrushed out past the gaoler, upsetting him into the corridor, and fled", "Philammon, at his wits' end between dread and longing, started off,\nand ran the whole way home to the Serapeium, regardless of carriages,", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "'Well,' thought Philammon, 'I have come out to see the world, and I\nseem, at this rate, to be likely to see enough of it.'", "Philammon at last escaped from the crowd, and putting the letter which\nhe had carried in his bosom into the hands of one of the priests who", "She ended: and Philammon, the moment that the spell of her voice was\ntaken off him, sprang up, and hurried out through the corridor into the\nstreet....", "with the more prosperous and frequented monasteries of the opposite\nbank. Thither Philammon rowed the old man over, week by week, in a light", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon thanked him heartily for the offer, though he shrank from\naccepting it; and in ten minutes more found himself at the door of the", "Twice the old man lifted his staff to strike; twice he laid it down\nagain; and then, slowly rising, left Philammon kneeling there, and moved\naway deliberately, and with eyes fixed on the ground, to the house of\nthe brother Aufugus.", "Philammon, of course, now that he had leave to go, longed to stay--at\nall events, he must go back and thank his hosts. He turned unwillingly", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "Luckily Philammon, contrary to the wont of monks, was a bather, and swam\nlike a water-fowl: fear he had never known: death from childhood had", "'He commanded me to see him,' said Philammon, with the true soldierlike\ndiscipline of a monk; 'and see him I will in spite of any man. I believe", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "Philammon's heart smote him all that day, whenever he thought of his\nmorning's work. Till then all Christians, monks above all, had been" ], [ "'A sister!' interrupted Philammon. 'Pelagia?'\n\n'God forbid, my son! But a sister thou hadst once--some three years\nolder than thee she seemed.'", "And forth stepped a figure, at which Philammon's eyes opened wider than\nthey had done even at the sight of Pelagia. Whatever thoughts the rich", "Philammon misinterpreted the intense interest of her tone, and if he did\nnot shrink back, gave some involuntary gesture of reluctance. Pelagia\nlaughed aloud.", "'Pelagia, Pelagia, darling sister!' cried Philammon, in an agonised\nvoice, 'think of the doom of sin! Think of the pains of hell!'", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "But Philammon pushed past her so fiercely, that the old woman was\nforced to give way, and with a sinister smile she followed him into the\nchamber.\n\nPelagia sprang towards her brother.", "Philammon told, honestly enough, the story of his Nile journey, and\nPelagia's invitation to him.\n\n'You did not surely accept it?'", "'And what if Pelagia herself were your sister?'\n\nPhilammon was bursting forth in some passionate answer, when the old man\nstopped him and went on slowly, looking him through and through--", "still. Philammon caught her by the arm, hurled her back into the empty\nchamber, shut the door upon her; and with a few bounds gained the roof,\nand met Pelagia face to face.", "Pelagia sprang towards her lover: Philammon caught her by the arm for\none last despairing appeal: and in a moment, neither knew how, the Goth", "Philammon started; for he recollected Pelagia.... That evening, so Cyril\nhad promised, twenty trusty monks were to have gone with him to seize\nher.", "Philammon felt sick and giddy, and half rose to escape. But Pelagia!....\nNo--he must sit it out, and see the worst, if worse than this was", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "'Let us talk no more of her, my beloved,' said Philammon, laying his\nhands gently on her trembling shoulders, and looking earnestly into", "Philammon was about to lift her up, when Miriam caught him by the arm,\nand in a hurried whisper--'Are you mad? Will you ruin your own purpose?", "Pelagia was silent.\n\n'I wish to deliver my sister, a Christian, from the sinful embraces of\nan Arian heretic; and deliver her I will, or die!'", "monks in search of him; Miriam, because she thought they were Orestes's\nguards in search of her; and Pelagia, from vague dread of anything and\neverything....", "'What is the matter, my father?' asked Philammon. 'You seem deeply moved\nabout this woman....'\n\n'And she is Miriam's slave?'", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'" ], [ "And Pelagia heard what he said.\n\nGradually, amid sobs and tears, and stormy confusion of impossible hopes\nand projects, those words took root in her mind, and spread, till they\nfilled her whole heart and brain.", "Miriam made interrogative signs, which Pelagia understood as asking her\nwhether she was alone; and the moment that an answer in the negative was", "Pelagia was silent.\n\n'I wish to deliver my sister, a Christian, from the sinful embraces of\nan Arian heretic; and deliver her I will, or die!'", "Pelagia put her hands over her eyes, and burst into tears. Were they of\npity or of joy?... She did not ask herself; and we will not ask her.", "'Who spoke to you, you stupid darling?' answered Pelagia, who lived in\nhourly fear of thunderstorms. 'Who is going to be cross with any one,", "'Because there are none here to marry,' said Pelagia; 'except some who\nare fast netted, I fancy, already.'", "Philammon misinterpreted the intense interest of her tone, and if he did\nnot shrink back, gave some involuntary gesture of reluctance. Pelagia\nlaughed aloud.", "The house which Pelagia and the Amal had hired after their return to\nAlexandria, was one of the most splendid in the city. They had been now", "Before he could stop her, Pelagia had sprung from her cushions, and\nthrown herself into the midst of the laughing ring of wild beasts.\n\n'Spare him! spare him for my sake!' shrieked she.", "settled, and was sad and discontented--not with herself, for was she\nnot Pelagia the perfect?--but with these strange fancies which came", "'Do I not love you? But not as I love him! Oh, hush, hush!--, you cannot\nunderstand yet!' And Pelagia hid her face in her hands, while convulsive\nshudderings ran through every limb....", "'Sing it yourself, if you choose. Pelagia sings quite well enough for\nme.'\n\nIn an instant the cunning beauty caught at the hint, and poured forth a\nsoft, low, sleepy song:--", "The storm was past; and Pelagia had been nestling to that beloved heart,\ncooing like a happy dove, for many a minute before the Amal aroused\nhimself and her....", "Pelagia read it with blanching cheek and staring eyes; and took, at\nleast, the last part of Miriam's advice. For walking down the stair, she", "And her voice took a tone which made it somewhat uncertain whether, in\nspite of all the lofty impassibility which she felt bound to possess,\nshe did not hate Pelagia with a most human and mundane hatred.", "Open homage to her rival, before her very face! Pelagia felt quite\ninclined to hate old Wulf.", "Pelagia had just time to retreat into an adjoining doorway: but she had\nheard enough; and as Wulf passed, she sprang to him and caught him by\nthe arm.", "'She! Who?'\n\n'My sister! Pelagia!'", "'No!' said Pelagia, looking up. 'No love-potions! No poisons!'", "And forth stepped a figure, at which Philammon's eyes opened wider than\nthey had done even at the sight of Pelagia. Whatever thoughts the rich" ], [ "'Well, he saved Africa.'\n\n'And thereby Egypt also. And you too, as well as the emperor, may be\nconsidered as owing him somewhat.'", "cried, 'Hail to Orestes! Hail, Emperor of Africa!'.... But there was no\nresponse.", "'Curse the coward! And such a plot as I had laid! I would have swept\nevery Christian dog out of Africa within the year. What is the man\nafraid of?'\n\n'Hell-fire.'", "and ambitious man shifts and shifts, from one see to another, till he\nsettles himself close to Rome or Byzantium, and gets the emperor's ear,\nand plays into the hands of his courtiers?'", "'I know what he offers me, father. The Empire of Africa.... I am to\ndescend from the mountain heights of science, from the contemplation", "'Believe me, you shall have yours in turn. I ask you to be ruled by\nme now, only that you may be in a position to rule me and Africa\nhereafter.'", "who will break it! Why, with those two ruling in Alexandria, we might be\nmasters of Africa in three months. We'd send to Spain for the Wendels,", "was before them waiting to be plundered, and they would fulfil their\nmission, whensoever it suited them. In the meantime they were in no\nhurry. Egypt furnished in profusion every sort of food which could", "of the late puppet Emperor of Rome. Men of Macedonia, remember that\nHonorius reigns no more! An African sits on the throne of the Caesars!", "'Infamy? you accursed Egyptian slave!' cried the prince, starting up in\nhis turn, red with passion, and clutching at the whip which hung", "for power which, as he gathered from their words, was even then pending\nbetween the Emperor and the Count of Africa, as if it contained but one\nquestion of interest to them--would Cyril, and they as his bodyguard,", "though; the man has the head of a Julius. Well--that fool Attalus talked\nof joining Egypt to the Western Empire.... Not such a bad thought either.\nAnything is better than being governed by an idiot child and three", "and Vandal tyrants were now the masters of the fair corn-lands of\nAfrica. Her father and brother were lying by the side of Raphael", "man in Alexandria, and she a woman, and the vainest woman in Alexandria;\nand therefore I am stronger than she, and can twist her round my finger,", "the Egyptians, wherein Moses the man of God was learned of old--why\nshould not he know it too? What awful secrets might not be hidden there\nabout the great world, past, present, and future, of which he knew only", "to her no illumination till their lost honours be restored. If he who\naspires to be the lord of Africa dare trample on the hateful cross, and", "One word before we part. The same devil who tempted these old Egyptians\ntempts you. The same God who would have saved these old Egyptians if", "southern continent--union of Africa and Egypt--the empire no longer to\nbe divided into Eastern and Western, but Northern and Southern. Shouts", "'A great house in Athens--and a great battle there--and coming to Egypt\nin a ship.'\n\n'Heavens!' said Pelagia, and paused.... 'How strange! Girls, who said he\nwas like me?'", "Lord and of Gideon. His uncle Theophilus knew that well enough. If he\nhad not, Olympiodorus might have been master of Alexandria, and incense" ], [ "'As your dying speech? The true Raphael Aben-Ezra, then, lives no more!'\n\n'But he may be born again.'", "'Raphael Aben-Ezra! are you so besotted with your philosophy and your\nheathenry, and your laziness, and your contempt for God and man, that", "But little thought Raphael Aben-Ezra, as he sat there, calling up every\nresource of his wit and learning, in the hope, half malicious, half", "'Out with you, imp of Satan!' cried Miriam. 'This is no time for\nwinebibbing. Raphael Aben-Ezra, why are you lying here? Did you not\nreceive a note last night?'", "But while Aben-Ezra was talking to himself about the father, he could\nnot help, somehow, thinking about the daughter. Again and again he", "And the beggar, lifting his broad straw hat, disclosed the features of\nRaphael Aben-Ezra. Hypatia recoiled with a shriek of surprise.", "bosom held one spark of affection for Raphael. If there had ever been\nany danger of that the wily Jew had himself taken care to ward it off,", "'Wedded love?.... Wedded love? Is that, then, the paltry bait by which\nRaphael Aben-Ezra has been tempted to desert philosophy?'", "'Not that, I'll warrant her,' said Peter, with a savage sneer.\n\n'And is Raphael Aben-Ezra her pupil in philosophy?' asked Philammon.", "verse or two, and then burying his face in his hand, while hot tears\ndropped between his fingers on the paper; till a servant entering,\nannounced Raphael Aben-Ezra.", "and become an Israelite indeed. And Raphael's dialectic, too, though it\nmight silence her, could not convince her. Her creed, like those of her", "'Victorius! Victoria!' cried Raphael; 'help me! Your father,' he went\non, as they came out from the tent, 'is still decided on losing his own\nhead, and throwing away ours, by going to Carthage.'", "And as she spoke, Theon ushered into the chamber no other than Raphael\nAben-Ezra, and then retired.", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "sorrows for the time, as soon as he found a human being to whom he might\ndo good. But Raphael was inexplicably wayward and unlike himself. All", "'Because--because--No, I'll tell you that another time. But I loved your\nmother, and she loved me. Come!'\n\nRaphael relapsed into silence for a few minutes, and watched the tumult\nbelow.", "'And you knew it for what it is!' cried Raphael through his sobs, as he\nthought of Victoria, and felt every vein burning with righteous wrath.", "'Here am I, at last!' said Raphael Aben-Ezra to himself. 'Fairly and", "'He is my father!'\n\n'Well?'\n\n'You must save him! You shall, I say!' And she seized Raphael's arm in\nthe imperiousness of her passion.", "it. I don't know why, but I like it. And--Raphael Aben-Ezra--don't laugh\nat me, and call me witch and hag, as you often do. I don't care about" ], [ "the Christian faith, and fled away to the heathen woman, Hypatia, of\nwhom he is enamoured.'", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "'Recollect that you are a Christian,' answered Hypatia, half smiling.", "Gradually one fixed idea, as a light-tower, began to glimmer through the\nstorm.... To see Hypatia, and convert her. He had the patriarch's leave", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "Poor Hypatia! The bait was too delicate, the tempter too wily; and yet\nshe was ashamed to speak aloud the philosophic dogma which flashed a ray", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Christianity; and if, of course, Christianity should be found to be at\nvariance with that enlarged light, as Hypatia seemed to think ....", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Hypatia smiled in spite of herself at the notion. 'That would be too\nshameful! I must forego the god of light himself, if I am to see him in\nthe person of a clumsy barbarian.'", "'You seem wonderfully taken with the sophist of Hippo,' said Hypatia\nimpatiently; 'and forget, perhaps, that his opinions, especially when,", "Hypatia started, as at a new thought, and confessed--as every\nNeo--Platonist would have done--that she had never done so.", "He departed; and Hypatia, half dreading her own thoughts, sat down at\nonce to labour at the ode. Certainly it was a magnificent subject. What", "'I do, indeed!' said Hypatia. 'But I will not see the altar polluted by\nblood. It is the desecration which it has undergone already which has\nprovoked the god to withdraw the poetic inspiration.'", "Hypatia's arms dropped suddenly. Yes; it was true! The thought flashed\nacross her mind with mingled delight and terror.... Visions of her", "Hypatia was cowed; for of one thing there was no doubt,--that the woman\nutterly believed her own words; and that was a state of mind of which", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her" ], [ "Alexandria. Not that there was not many a sulky and lowering face\namong the mob, for the great majority of them were Christians, and", "themselves into masses, and parade the streets with shouts of 'Down with\nthe heathen!' 'Down with the idolaters!' 'Vengeance on all blaspheming\nharlots!'", "Christians, while they hated and persecuted each other for arguments\nabout Him, were denying and blaspheming in every action of their lives.", "had been found to put the mob in such good humour as to see a few\nChristians, especially young and handsome women, burned alive, or thrown\nto the lions.'", "'The Jews got up a cry that Hierax wanted to raise a riot. Curse them\nand their sabbath, they are always rioting on Saturdays about this\ndancer of theirs, instead of working like honest Christians!'", "them that they had been taken in--that Alexander's church had never\nbeen on fire at all--that the Jews had murdered a thousand Christians\nat least, though three dead bodies, including the poor priest who lay", "'We shall have enough to do to hold our own, perhaps. Do you hear what\nthey are crying there? \"Down with all heathens! Down with barbarians!\"\nThat means us, you know.'", "Christian who broke the peace; and there had not been a monk to be seen\nin the streets the whole morning. And as for any harm happening to their", "every brow. More than one Christian rose hastily to depart, touched with\nreal remorse and shame at the horrors of which they had been the willing\nwitnesses. The common people behind, having glutted their curiosity with", "his mob, who held the Serapeium for many days by force of arms against\nthe Christians, making sallies into the city, and torturing and", "The Christians are mad with her; if a storm blows up, her life is not\nworth--that!'", "'Nay, fairest vestal! The mob has tasted blood, and they must have\ntheir fill of it, or they will turn onus for aught I know. Nothing so", "'Monks, to the rescue! Hierax, a Christian, is taken and tortured in the\ntheatre!' thundered a wild hermit, his beard and hair streaming about\nhis chest and shoulders.", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "'I ran out when they said the church was on fire,' sobbed the poor\ncreature, 'and the Jews beat and wounded me. They tore my shawl and", "from its own noise, burst out into open threats. 'Revenge for the\nblessed martyr Hieracas!' 'Revenge for the wrongs of the Church!' 'Down", "He turned to flee: but, once outside the church, he sank exhausted, and\nlay upon the steps, watching with stupid horror the glaring of the\nfire, and the mob who leaped and yelled like demons round their Moloch\nsacrifice.", "in which the Christian mob, relenting, began to join)--is but a pleasant\nprelude to that more serious business for which I have drawn you here\ntogether. Other testimonials of my good intentions have not been wanting", "'What's all this about? Why are you not quietly in your beds, you\nAlexandrian rascals?'\n\n'Alexander's church is on fire,' answered Philammon, thinking the\nshortest answer the wisest.", "With a panic or two, a cry of 'The Jews are on us!' and a general rush\nin every direction (in which one or two, seeking shelter from the" ], [ "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "'Go now, my pupils. Hypatia has no more for you to-day. Go now, and\nspare her at least--woman as she is after all--the shame of finding", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "'No, father. What I know, henceforth I will know for myself only.\nHypatia will be from this day alone with the Immortal Gods!'\n\n'You will not leave me?' cried the old man, terrified.", "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "These last words were spoken with so marked a significance, that\nHypatia, in spite of her disgust, found herself asking the hag what", "Hypatia went on to the Museum, utterly bewildered by this strange\nmeeting, and its still stranger end. She took care, nevertheless, to", "Hypatia was silent. One terrible possibility at which he had hinted\nflashed across her memory for the first time since;.... but she spurned\nproudly from her the heaven-sent warning.", "theatre itself. But Hypatia sat still in her chamber, her face buried in\nher hands, her heart full of many thoughts; her eyes of tears. She had", "And she departed to her incantations; while Hypatia threw herself upon\nher bed at home, and filled the chamber with a long, low wailing, as", "Hypatia's arms dropped suddenly. Yes; it was true! The thought flashed\nacross her mind with mingled delight and terror.... Visions of her", "And then began a butchery.... Some fifty men, women, and children were\ncooped together in that narrow space.... And yet Hypatia's countenance", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "'Ah, then,' said Hypatia, catching at any thread of self-justification,\n'their lives are forfeit in any case.'", "last Hypatia's favourite maid passed, and knew him. Her mistress could\nnot speak with any one. Where was Theon, then? He, too, had shut himself", "He departed; and Hypatia, half dreading her own thoughts, sat down at\nonce to labour at the ode. Certainly it was a magnificent subject. What" ], [ "'Yes--I will go--up into the desert--with Philammon--and you shall never\nhear of me again. And I will be a nun, and pray for him, that he may be", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "So be it. Pelagia and Philammon, like the rest, went to their own place;\nto the only place where such in such days could find rest; to the desert", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "There was a kindly tone in the voice, a kindly light in the eye, which\nmade Philammon promise to obey. He glanced one look back through the", "Philammon to wait and wonder. In half an hour he returned, his little\neyes growing big with some great idea.", "Philammon threw himself on the floor in a corner, and slumbered like a\nchild, till he was awakened in the gray dawn by one of the parabolani.", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon stood in astonished silence; and at last--\n\n'Servant to that man? What care I for him or his honours? Why do you\ntantalise me thus? I have no wish on earth but to see my sister!'", "host, who never lost heart for a moment, either about himself, or any\nother human being. As for Philammon's going out with him to earn his", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "said Philammon to himself, as he staggered along under the weight of a\ngroaning fever-patient. 'Can there be found no fitter work for me than", "THE little porter, after having carried Arsenius's message to Miriam,\nhad run back in search of Philammon and his foster-father; and not", "month after month, till now it had assumed this fearful shape? He\ncould stay no longer in the desert. This world which sent all souls to", "Philammon, of course, now that he had leave to go, longed to stay--at\nall events, he must go back and thank his hosts. He turned unwillingly", "than one life to answer for. As it was, they turned and limped off,\ncursing in an unknown tongue; and Philammon found himself triumphant", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "CHAPTER XXIV: LOST LAMBS\n\n\nAnd Philammon?", "The armed men, whosoever they were, were close on them. There was no\ntime to be lost; and Philammon, assuring her that he would not desert", "Twice the old man lifted his staff to strike; twice he laid it down\nagain; and then, slowly rising, left Philammon kneeling there, and moved\naway deliberately, and with eyes fixed on the ground, to the house of\nthe brother Aufugus." ], [ "a philosopher. I, to believe, against the authority of Porphyry himself,\ntoo, in evil eyes and magic! But there is my father, pacing up and down\nin the library.'", "'What was that?' asked Hypatia, who became more and more interested\nevery moment.\n\n'That philosophers were men.'", "one who understood me, and he told me that it was the famous maiden, the\ngreat philosopher. And that's what I know about philosophy.'", "fruition of it. Come, you two philosophers must know each other. Most\nholy, I entreat you to preach to this friend of mine, at once the wisest\nand the foolishest of men.'", "'The philosopher,' he said, 'will hardly lament the loss of a mere\noutward idolatry. For if, as you seem to think, there were a root of", "'Why?'\n\n'Your excellency will know when the letter comes. Here she is; I hear\nsteps in the cloister. Now, one bet before they enter. I give you two to\none she asks you to turn pagan.'", "'Stay,' said Orestes; 'there is one more with whom I have an account to\nsettle--that young philosopher there.'", "'I may speak as a philosopher, or as a heathen, for aught I know: yet it\nseems to me that, as they say, the half loaf is better than none; that", "of all that has been said and written thereon from Philo the Jew to\nHypatia the Gentile. By the way, here's Cyril coming down the steps of", "philosopher dared less than the fanatic. If my Gods are Gods, then will\nthey protect me: and if not, let your God prove His rule as seems to Him\ngood.'", "'You seem wonderfully taken with the sophist of Hippo,' said Hypatia\nimpatiently; 'and forget, perhaps, that his opinions, especially when,", "'No!' thought the youth, 'am I not a free man, and a philosopher?' and\nfacing round, he awaited the enemy.", "As Hypatia went forth the next morning, in all her glory, with a crowd\nof philosophers and philosophasters, students, and fine gentlemen,", "'Yes.... At noon I lecture.... take my farewell, rather, for ever of\nthe schools....Gods! What have I to say?.... And tell me about Him of\nNazareth. Farewell!'", "hopes. To have converted him at last to a philosophic faith in the old\ngods! To have made him her instrument for turning back the stream of\nhuman error I... How often had that dream crossed her! And now, who", "Paganism? And for that Paganism who was to be blamed? She?.... Was\nhe the man to affirm that? Had he not seen scandals, stupidities,", "Impossible! No, not impossible. Had not, only a few years before, the\nimage of Hecate smiled on a philosopher? Were there not stories of", "Philammon winced somewhat at the hint; which seemed to have an ugly\nverisimilitude in it: but still, philosophy he must learn, and bread he\nmust eat; so he submitted.", "Hypatia sighed. 'Ah, that your excellency but saw the great duel which\ndepends on you alone! Do not fancy that the battle is merely between\nPaganism and Christianity--'", "'The city of God is in heaven,' said Philammon to the interpreter,\nturning his head away from those gleaming, luscious, searching glances." ], [ "the old Patriarchs, and in the mighty acts of Moses and Joshua, he could\nfind nothing but spiritual allegories wherewith to pamper the private", "'It is reward enough to know that I have done good service. Nevertheless\nif the holy patriarch be so inclined without reason, there is an ancient\nChristian, my mother according to the flesh--'", "Babel round, and inquire his way to the patriarch's house.", "'He confesses, he confesses! He deluded the piety of the patriarch into\nletting him go, under colour of converting her; and even now he wants", "'Down with the butcher! down with the heathen tyrant, who refuses the\nadjuration on the Gospels rather than be reconciled to the patriarch!\nTear him out of the chariot!' yelled the monks.", "'Of the God of thy forefather Abraham, whom thou shalt hear us worship\nthis evening, if He will. Synesius, have you a church wherein I can\nperform the evening service, and give a word of exhortation to these my\nchildren?'", "'The patriarch's tastes are more plebeian. He lives, they say, in two\ndirty little rooms--knowing what is fit for him. The patriarch's house?", "'Oh, liar! who pretends to be known to the patriarch, and yet is\nignorant that this night he visits at the Caesareum the most sacred\ncorpse of the martyr Ammonius!'", "Abraham and David, and of the rest who believed that children and\nthe fruit of the womb were an heritage and gift which cometh of the\nLord--and that Paul was right--actually right--in his theory that the", "'Come, come, Aben-Ezra,' cried the young men; 'you are far too good\ncompany for us to lose you for that rascally patriarch's fancy. We will", "'You forget, sir, that you are speaking to a Christian.'", "to settle with the patriarch; cursed for half an hour in the name of all\ndivinities, saints, and martyrs, Christian and Pagan; and wrote off a", "gained that morning, went on to speak of the great overthrow of Paganism\ntwenty years before, under the patriarch Theophilus; of Olympiodorus and", "'Ah! you here? You may go to-morrow, young fool! The patriarch can't\ntalk to you. Why should he? Some people have a great deal too much", "Christianity of the soldiers, and seemed to have a word--and that the\nright word--for every man; and after a while, Aben-Ezra quite forgot", "'How those Christian priests keep their men in order! There is no use\nresisting destiny. They are the strong men of the time, after all,\nand the little Exodus must needs have its course. Miriam, daughter of\nJonathan--'", "'Ay,' said Peter, rising fiercely, that is the world's justice! Blame\nme, blame the patriarch, blame any and every one but the sinner. As if", "inclined them, the known piety and wisdom of their esteemed patriarch\nmade it presumptuous in them to offer any opinion on his present\nconduct, beyond the expression of their firm belief that he had been", "Abraham, Isaac, and Jacob.... He replied by an encomium on virginity, in\nwhich I seemed to hear again the voice of Hypatia herself.'", "'Of course he ought,' said Philammon, jealous for the honour of his own\npatriarchate.\n\n'And the patriarchs of Rome and Constantinople are jealous of our\npatriarch.'" ], [ "'Oh, the monks know everything,' said Pelagia. 'They go hundreds and\nthousands of miles up the river, and cross the deserts among fiends and\nmonsters, where any one else would be eaten up, or go mad at once.'", "'Look,' said the old abbot, stretching his hand toward the Eastern\ndesert, 'and judge, like a wise man, for thyself!'", "the monastery towards the desert; whom the whole fraternity followed\nweeping, as knowing that they should see his face no more. But he,\nhaving arrived at the foot of a certain mountain, stopped, and blessing", "'Here he is, prince, with his elbows safe behind him.' And a tall,\nhaggard, half-naked monk was dragged forward.", "'Thou art late, son,' said the abbot, steadfastly working away at his\npalm-basket, as Philammon approached.\n\n'Fuel is scarce, and I was forced to go far.'", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "In the four hundred and thirteenth year of the Christian Era, some three\nhundred miles above Alexandria, the young monk Philammon was sitting on", "'She? He! I, a monk, brought the news! Cyril has known it--every Jew in\nthe Delta has known it, for a week past! So perish all the enemies of\nthe Lord, caught in their own snare!'", "'He commanded me to see him,' said Philammon, with the true soldierlike\ndiscipline of a monk; 'and see him I will in spite of any man. I believe", "'It is the monk! the young man I told you of, who saved me from the Jews\nthe other night! What good angel sent him here that I might thank him?'\ncried the poor creature, while the tears ran down her black shining\nface.", "Wulf took him quietly at his word, and addressed a question to the young\nmonk, which he could only answer by a shake of the head.\n\n'Ask him in Greek, man.'", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "The monk kissed his superior's hand and withdrew. Cyril turned to\nArsenius, betrayed for once into geniality by his delight, and smiting\nhis thigh--", "vanished. The Nitrian monks had come down in a body, and carried them\noff before the very eyes of the sentinels. Orestes knew well enough that", "'Here is my mouse, gentlemen,' answered the old monk, with a bow and\na smile, as he laid his hand on Philammon's arm, and presented to his", "of the two was a harlot, and the other a heathen.' The old monk laid his\nhand on his mouth, and retired.", "'Let the youth listen, gentlemen. He is but a monk and a plebeian, and\nknows no better; he has been taught thus. Let him sit here quietly, and\nperhaps we may be able to teach him otherwise.'", "'The temple! What didst thou see there?'\n\nNo answer. Pambo looked up with his keen black eye.\n\n'Thou hast entered it, and lusted after its abominations.'", "The monk laughed. 'Pardon? Pardon me eternal bliss, and the things\nunspeakable, which God has prepared for those who love Him? Tyrant and", "and citizens rich and poor, were banging about the courtyard, talking\nearnestly and angrily. A large party of monks fresh from Nitria, with" ], [ "of the Guards, being a man of some presence of mind, and also not in\nanywise respectable, pricked up the Prefect of the docks with the point", "'My dear sir,' interrupted the Prefect, 'you mean kindly. But do not, do\nnot tempt me. By the Count's side I have fought for thirty years, and by\nhis side I will die, as I deserve.'", "'The very same, my dear prefect. Now for this matter, which is really\nimportant-at least to Gentiles. Heraclian will certainly rebel. Synesius", "'Who spoke of the prefect? Whosoever is a tyrant, and a murderer, and an\noppressor of the poor, and a favourer of the philosophy which despises", "The secretary's face grew longer still.\n\n'The Jews, most August--'\n\n'What of them?' yelled the hapless Prefect. 'Have they been\nforestalling?'", "Hypatia looked at the Prefect with calm penetration, not unmixed with\nscorn and fear.", "Alexandria then, as in all great cities since, who were staring at the\nprefect, and having their heads rapped by his guards, and wondering what", "'Here, your Excellency.'\n\n'To the Prefect of the Corn market--how many wheat-ships have you\nordered to be unladen?'\n\n'Two, your Excellency.'", "'I expected this,' said the Prefect, in a slow stately voice. 'Hear me,\nsir! Jew, Christian, or philosopher, God seems to have bestowed on you a", "unfortunately misinformed as to those sentiments of affection and\nrespect which his excellency the Prefect was well known to entertain\ntowards him. They ventured, therefore, to express a humble hope that,", "'Exactly what I don't want to do. I hate that prefect as I hate a dead\ncamel, or the vulture who eats him. And to tell the truth, I am growing\na great deal too fond of that heathen woman there--'", "was before them waiting to be plundered, and they would fulfil their\nmission, whensoever it suited them. In the meantime they were in no\nhurry. Egypt furnished in profusion every sort of food which could", "CHAPTER XVIII: THE PREFECT TESTED", "As he left the prefect's door, he saw Miriam on the opposite side of the\nstreet, evidently watching for him. As soon as she saw him, she held on", "A cry arose of 'Orestes! Orestes! Health to the illustrious Prefect!\nThanks for his bounty!' And a hired voice or two among the crowd", "'I am sorry for your eyesight, then, sir,' said the Prefect severely,\n'if it has been able to discern no more than that in so august a\ncharacter.'", "the Egyptians, wherein Moses the man of God was learned of old--why\nshould not he know it too? What awful secrets might not be hidden there\nabout the great world, past, present, and future, of which he knew only", "of crying, 'Imperator Orestes,' but thought better of it; and waited for\nsome one else to cry first--being respectable. Whereon the Prefect", "attacked first, he is to give us the signal, and we are to pack up and\nrow round thither. And in the meanwhile he is to make that hound of a\nGreek prefect as drunk as he can.'", "'After all, it will serve the hussy right. But Amalric?'\n\n'Out of sight, out of mind.'\n\n'But they say the Prefect means to marry the girl.'" ], [ "And Pelagia heard what he said.\n\nGradually, amid sobs and tears, and stormy confusion of impossible hopes\nand projects, those words took root in her mind, and spread, till they\nfilled her whole heart and brain.", "Pelagia was silent.\n\n'I wish to deliver my sister, a Christian, from the sinful embraces of\nan Arian heretic; and deliver her I will, or die!'", "'She! Who?'\n\n'My sister! Pelagia!'", "Pelagia put her hands over her eyes, and burst into tears. Were they of\npity or of joy?... She did not ask herself; and we will not ask her.", "Miriam made interrogative signs, which Pelagia understood as asking her\nwhether she was alone; and the moment that an answer in the negative was", "Philammon misinterpreted the intense interest of her tone, and if he did\nnot shrink back, gave some involuntary gesture of reluctance. Pelagia\nlaughed aloud.", "'Who spoke to you, you stupid darling?' answered Pelagia, who lived in\nhourly fear of thunderstorms. 'Who is going to be cross with any one,", "'Pelagia, Pelagia, darling sister!' cried Philammon, in an agonised\nvoice, 'think of the doom of sin! Think of the pains of hell!'", "'Do I not love you? But not as I love him! Oh, hush, hush!--, you cannot\nunderstand yet!' And Pelagia hid her face in her hands, while convulsive\nshudderings ran through every limb....", "'Pelagia, of course. I met that prettiest and naughtiest of humanities\nhalf-way between here and Thebes, transformed into a perfect Andromache\nof chaste affection.'\n\n'And to whom, pray?'", "Before he could stop her, Pelagia had sprung from her cushions, and\nthrown herself into the midst of the laughing ring of wild beasts.\n\n'Spare him! spare him for my sake!' shrieked she.", "'But there is Pelagia in the way.'\n\n'Put her out of the way, then.'\n\n'Impossible.'", "The old woman set her lips firmly, and drew her dagger. Pelagia wrapped\nher face in her cloak, and stood trembling, bowed down, as if expecting", "Pelagia looked tip at him wide-eyed, as if her mind was taking in slowly\nsome vast new thought, under the weight of which it reeled already. Then\nshe rose slowly.\n\n'And he might be Emperor of Africa.'", "And forth stepped a figure, at which Philammon's eyes opened wider than\nthey had done even at the sight of Pelagia. Whatever thoughts the rich", "Pelagia read it with blanching cheek and staring eyes; and took, at\nleast, the last part of Miriam's advice. For walking down the stair, she", "'Not you, surely,' said Pelagia. 'Oh, you wonderful creature! what\nthings you have done and suffered!'", "Pelagia, like a child caught playing with a forbidden toy, hid her face\nin her hands and cowered down.\n\n'What is it?' cried he, lifting her.", "Pelagia, during the saga, had remained looking into the fountain, and\nplaying with the water-drops, in assumed indifference. Perhaps it was to", "'No!' said Pelagia, looking up. 'No love-potions! No poisons!'" ], [ "That evening was a hideous one in the palace of Orestes. His agonies\nof disappointment, rage, and terror were at once so shameful and so", "Orestes, after looking vainly round the room for a place to escape, had\nquietly subsided into his chair again; and by the time that the slaves", "presence and under his sanction. He was in the right now, and Orestes in\nthe wrong; and in the right he would keep--at least till his express", "knock down these fellows right and left, and run for your life.' And\nOrestes drove on.", "'The murderers. They are in sanctuary now at the Caesareum. Orestes sent\nme to demand them: and this fellow defies him openly!' And the tribune\nhurried out.", "In another chamber, the door of which was guarded by armed men, Orestes\nwas walking up and down in high excitement, looking somewhat the worse\nfor the events of the past night, and making occasional appeals to a\ngold goblet which stood on the table.", "Orestes, and you are in fetters as a fugitive.'", "from behind. The crowd parted, and disclosed the apparitors of Orestes,\nwho followed in his robes of office.", "Orestes read it--and his countenance fell.\n\n'I have won?'\n\n'Out of the room, slaves! and no listening!'\n\n'I have won then?'", "'I? Pallas forbid!' said Orestes, finding himself on the wrong path\nagain. 'But recollect that the allowing this spectacle to take place\nmight rid you for ever of an unpleasant--I will not say rival.'", "'Oh, nothing. It's no business of mine. Only he is going to rebel ....\nBut here we are at your door.'\n\n'To what?' asked Orestes, in a horrified tone.", "Orestes sat buried in deep thought.\n\n'Of course not,' said he at last, half unconsciously. And then, in\nsudden dread of having committed himself, he looked up fiercely at the\nJew.", "'We are ruined utterly already. Orestes? There is no help in him. I\nknow the man too well, my father, not to know that he would give us up", "Orestes swore a great oath.\n\n'Oh, that the mob had but one throat, that I might give them an emetic!\nWell, we must buy more corn, that's all.'", "'You lie!' said Orestes.... 'I would much sooner believe that you have\nbeen warning the hag to keep out of the way.'\n\nOrestes had spoken, for that once in his life, the exact truth.", "Orestes smiled.", "hands. Orestes alone rose with the crisis. Now, or never, was the time\nfor action; and stepping forward, with his most graceful obeisance,", "death, not so easy. Besides, it was too early yet for so desperate a\nmove as would be involved in the violation of a church .... So Orestes\nadded this fresh item to the long column of accounts which he intended", "'We'll see!' yelled Orestes. 'Here, slaves!' And he clapped his hands\nloudly.", "And really, Orestes's power of getting through business, when he chose,\nwas surprising enough. A cold head and a colder heart make many things\neasy." ], [ "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "And then began a butchery.... Some fifty men, women, and children were\ncooped together in that narrow space.... And yet Hypatia's countenance", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Twenty years after Hypatia's death, philosophy was flickering down\nto the very socket. Hypatia's murder was its death-blow. In language", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her", "As Hypatia went forth the next morning, in all her glory, with a crowd\nof philosophers and philosophasters, students, and fine gentlemen,", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "of treachery: but the mass behind pressed them onward, and in swept\nthe murderers of Hypatia, till the court was full of choking wretches,", "True, he and his monks had conquered; but Hypatia did not die unavenged.\nIn the hour of that unrighteous victory, the Church of Alexandria", "But at least he was the only traitor. The rest of the Goths agreed\nunanimously that Hypatia was a very foolish person, who was wasting her", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia with horns and cloven feet, riding three hippopotami at\nonce round the theatre; Cyril standing at an open window, cursing", "And Hypatia, turning pale as death, drew her father with unphilosophic\nhaste down a side-walk.", "Hypatia reddened--was Orestes, after all laughing in his sleeve at her\nand her hopes?\n\n'Do not blaspheme!' she said solemnly.", "But he was a Jew, and a man: Hypatia was a Greek, and a woman--and for\nthat matter, so were the men of her school. To her, the relations", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "chorus, and saluted Orestes as Emperor; while Hypatia, amid the shouts\nof her aristocratic scholars, rose and knelt before him, writhing" ], [ "'Raphael Aben-Ezra! are you so besotted with your philosophy and your\nheathenry, and your laziness, and your contempt for God and man, that", "'As your dying speech? The true Raphael Aben-Ezra, then, lives no more!'\n\n'But he may be born again.'", "But little thought Raphael Aben-Ezra, as he sat there, calling up every\nresource of his wit and learning, in the hope, half malicious, half", "And as she spoke, Theon ushered into the chamber no other than Raphael\nAben-Ezra, and then retired.", "'Out with you, imp of Satan!' cried Miriam. 'This is no time for\nwinebibbing. Raphael Aben-Ezra, why are you lying here? Did you not\nreceive a note last night?'", "verse or two, and then burying his face in his hand, while hot tears\ndropped between his fingers on the paper; till a servant entering,\nannounced Raphael Aben-Ezra.", "and become an Israelite indeed. And Raphael's dialectic, too, though it\nmight silence her, could not convince her. Her creed, like those of her", "'Here am I, at last!' said Raphael Aben-Ezra to himself. 'Fairly and", "Christianity of the soldiers, and seemed to have a word--and that the\nright word--for every man; and after a while, Aben-Ezra quite forgot", "About five o'clock the next morning, Raphael Aben-Ezra was lying in bed,\nalternately yawning over a manuscript of Philo Judaeus, pulling the ears", "Hypatia answered with a forced smile.\n\n'Raphael Aben-Ezra has deserted the method of the severe dialectician\nfor that of the eloquent lover.'", "And the beggar, lifting his broad straw hat, disclosed the features of\nRaphael Aben-Ezra. Hypatia recoiled with a shriek of surprise.", "But while Aben-Ezra was talking to himself about the father, he could\nnot help, somehow, thinking about the daughter. Again and again he", "The good bishop, to Aben-Ezra's surprise, seemed to treat the whole\nmatter as infinitely amusing. He chuckled, smote his hand on his", "it. I don't know why, but I like it. And--Raphael Aben-Ezra--don't laugh\nat me, and call me witch and hag, as you often do. I don't care about", "propounded. It had seemed at first a mere affectation; but the arguments\nwhich it was employed to enforce were in themselves so moderate and so\nrational that Raphael began to feel, little by little, that his apparent", "And when Raphael rose at the end of this strange discourse, he felt more\nlike an old Hebrew than he had done since he sat upon his nurse's", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "And where was Raphael Aben-Ezra?", "'Ah, Raphael Aben-Ezra! my excellent friend, what propitious\ndeity--ahem! martyr--brings you to Alexandria just as I want you? Get up" ], [ "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Twenty years after Hypatia's death, philosophy was flickering down\nto the very socket. Hypatia's murder was its death-blow. In language", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "But he was a Jew, and a man: Hypatia was a Greek, and a woman--and for\nthat matter, so were the men of her school. To her, the relations", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her", "And then began a butchery.... Some fifty men, women, and children were\ncooped together in that narrow space.... And yet Hypatia's countenance", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "But at least he was the only traitor. The rest of the Goths agreed\nunanimously that Hypatia was a very foolish person, who was wasting her", "True, he and his monks had conquered; but Hypatia did not die unavenged.\nIn the hour of that unrighteous victory, the Church of Alexandria", "Hypatia was silent. One terrible possibility at which he had hinted\nflashed across her memory for the first time since;.... but she spurned\nproudly from her the heaven-sent warning.", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Alas! as Augustine said once, bitterly enough, of his own Manichaean\nteachers, Hypatia had taken away the living God, and given him instead", "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "Hypatia was cowed; for of one thing there was no doubt,--that the woman\nutterly believed her own words; and that was a state of mind of which", "And so, by men and purposes which recked not of her, as is the wont of\nProvidence, was the blood of Hypatia avenged in part that night. In part", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "'Ah, then,' said Hypatia, catching at any thread of self-justification,\n'their lives are forfeit in any case.'" ], [ "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "Philammon. Quick as a cat, he leapt upon him, felled him to the earth\nwith a single blow, tore the dagger from his hand, and sprang to his", "CHAPTER XXIV: LOST LAMBS\n\n\nAnd Philammon?", "Philammon, furious at the notion of persecution, maddened by the cries\naround him, found himself bursting fiercely through the crowd, till he", "It was Philammon's. He had been listening to the whole lecture; and yet\nnot so much listening as watching, in bewilderment, the beauty of the", "Philammon was about to lift her up, when Miriam caught him by the arm,\nand in a hurried whisper--'Are you mad? Will you ruin your own purpose?", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "So Philammon waited in a dark, dingy ante-room, luxuriously furnished\nwith faded tapestry, and divans which lined the walls; and fretted and", "Philammon threw himself on the floor in a corner, and slumbered like a\nchild, till he was awakened in the gray dawn by one of the parabolani.", "CHAPTER XXII: PANDEMONIUM\n\n\nBut where was Philammon all that week?", "Philammon had done.", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "Philammon, who was among the leaders, had recoiled too--he hardly knew\nwhy--at that stern apparition. His next instinct was to press forward as", "Philammon stood in astonished silence; and at last--\n\n'Servant to that man? What care I for him or his honours? Why do you\ntantalise me thus? I have no wish on earth but to see my sister!'", "At this juncture Philammon, thinking perhaps that he had already heard\ntoo much, notified his presence by some slight noise, at which the", "'True, my father: but just now, I wish Philammon, by such thoughts as I\nhave suggested, to rise to that higher and more spiritual insight into", "Poor Philammon! He was no longer master of himself. The arguments--the\nwine--the terrible spell of the old woman's voice and eye, and the", "Philammon stood trembling, choking, his eyes fixed on the floor. Where\nwere all the fine things he had conned over for the occasion? He dared", "up. Never mind. Philammon must, would speak with him. And he pleaded\nso passionately and so sweetly, that the soft-hearted damsel, unable to" ], [ "'He commanded me to see him,' said Philammon, with the true soldierlike\ndiscipline of a monk; 'and see him I will in spite of any man. I believe", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "'Yes--I will go--up into the desert--with Philammon--and you shall never\nhear of me again. And I will be a nun, and pray for him, that he may be", "the monastery towards the desert; whom the whole fraternity followed\nweeping, as knowing that they should see his face no more. But he,\nhaving arrived at the foot of a certain mountain, stopped, and blessing", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "THE little porter, after having carried Arsenius's message to Miriam,\nhad run back in search of Philammon and his foster-father; and not", "'Oh, the monks know everything,' said Pelagia. 'They go hundreds and\nthousands of miles up the river, and cross the deserts among fiends and\nmonsters, where any one else would be eaten up, or go mad at once.'", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "So Philammon went out with the parabolani, a sort of organised guild\nof district visitors.... And in their company he saw that afternoon", "So be it. Pelagia and Philammon, like the rest, went to their own place;\nto the only place where such in such days could find rest; to the desert", "Philammon walked on in silence by the old priest's side, stunned and\nsickened.... 'And this is what I have come out to see--reeds shaken in", "with the more prosperous and frequented monasteries of the opposite\nbank. Thither Philammon rowed the old man over, week by week, in a light", "Desperately and breathlessly did Philammon drive this speech out of his\ninmost heart; and then waited, expecting the good abbot to strike him", "Philammon stood in astonished silence; and at last--\n\n'Servant to that man? What care I for him or his honours? Why do you\ntantalise me thus? I have no wish on earth but to see my sister!'", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "'Thou art late, son,' said the abbot, steadfastly working away at his\npalm-basket, as Philammon approached.\n\n'Fuel is scarce, and I was forced to go far.'", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "In the four hundred and thirteenth year of the Christian Era, some three\nhundred miles above Alexandria, the young monk Philammon was sitting on", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:" ], [ "That evening was a hideous one in the palace of Orestes. His agonies\nof disappointment, rage, and terror were at once so shameful and so", "Orestes, after looking vainly round the room for a place to escape, had\nquietly subsided into his chair again; and by the time that the slaves", "presence and under his sanction. He was in the right now, and Orestes in\nthe wrong; and in the right he would keep--at least till his express", "knock down these fellows right and left, and run for your life.' And\nOrestes drove on.", "'The murderers. They are in sanctuary now at the Caesareum. Orestes sent\nme to demand them: and this fellow defies him openly!' And the tribune\nhurried out.", "In another chamber, the door of which was guarded by armed men, Orestes\nwas walking up and down in high excitement, looking somewhat the worse\nfor the events of the past night, and making occasional appeals to a\ngold goblet which stood on the table.", "Orestes, and you are in fetters as a fugitive.'", "from behind. The crowd parted, and disclosed the apparitors of Orestes,\nwho followed in his robes of office.", "Orestes read it--and his countenance fell.\n\n'I have won?'\n\n'Out of the room, slaves! and no listening!'\n\n'I have won then?'", "'I? Pallas forbid!' said Orestes, finding himself on the wrong path\nagain. 'But recollect that the allowing this spectacle to take place\nmight rid you for ever of an unpleasant--I will not say rival.'", "'Oh, nothing. It's no business of mine. Only he is going to rebel ....\nBut here we are at your door.'\n\n'To what?' asked Orestes, in a horrified tone.", "Orestes sat buried in deep thought.\n\n'Of course not,' said he at last, half unconsciously. And then, in\nsudden dread of having committed himself, he looked up fiercely at the\nJew.", "'We are ruined utterly already. Orestes? There is no help in him. I\nknow the man too well, my father, not to know that he would give us up", "Orestes swore a great oath.\n\n'Oh, that the mob had but one throat, that I might give them an emetic!\nWell, we must buy more corn, that's all.'", "'You lie!' said Orestes.... 'I would much sooner believe that you have\nbeen warning the hag to keep out of the way.'\n\nOrestes had spoken, for that once in his life, the exact truth.", "Orestes smiled.", "hands. Orestes alone rose with the crisis. Now, or never, was the time\nfor action; and stepping forward, with his most graceful obeisance,", "death, not so easy. Besides, it was too early yet for so desperate a\nmove as would be involved in the violation of a church .... So Orestes\nadded this fresh item to the long column of accounts which he intended", "'We'll see!' yelled Orestes. 'Here, slaves!' And he clapped his hands\nloudly.", "And really, Orestes's power of getting through business, when he chose,\nwas surprising enough. A cold head and a colder heart make many things\neasy." ], [ "'Cyril is a wise man in his generation--too wise, some say, for a child\nof the light. But at least, he knows there is no use fighting with those", "'Cyril?'\n\n'Cyril.'\n\n'Justice.'", "it is. While Cyril is leader of the Christian mob, it may be safer for\nyou, my father, that you should be able to deny all knowledge of my", "Cyril was walking up and down, according to his custom, with great\nstrides. When he saw who was his visitor, he stopped short with a look\nof fierce inquiry. Raphael entered on business at once, with a cold calm\nvoice.", "There was a sudden whisper and rustle in the congregation: but Cyril,\nafter a moment's pause, went on--", "'Of Cyril?'\n\n'Of course, because he won't be at their beck and nod, and let them be\nlords and masters of Africa.'", "'Yes, of the heathen woman. Of course you have seen Cyril before you\ncame hither?'\n\n'I have, and--'", "Cyril made no answer; and Peter went on--'Where it ought to be, my\nfather--in front of your door at the Serapeium?'", "Cyril was still silent; whilst Peter's brow clouded fast. At last he\nanswered--\n\n'The cause wants martyrs. Send the boy to me.'", "Cyril was silent a while.", "And Cyril did make a fool of himself that night, for the first and last\ntime in his life; and suffers for it, as wise men are wont to do when", "Caesareum; and Cyril, and all his mighty organisation, became to him\nanother world, with which he had even less to do than with those", "that man.... and life is too short for all that. Where are these Jews?'\nand Cyril plunged into the latter half of his day's work with that", "And thus Cyril, usually the most impatient and intractable of plotters,\ngave in, as wise men should, to a wiser man than himself, and made up\nhis mind to keep the secret, and to command the monk to keep it also.", "'What! Is Cyril with you?'\n\n'He and all his clergy.'\n\n'Better so; better in public,' said Philammon to himself; and, turning,\nhe joined the crowd.", "of God!' Cyril's hounds were loose.... He reeled from the window, and\ndarted frantically away again.... whither, he knew not, and never knew\nuntil his dying day.", "base, earthly, and political business. Cyril has written to me, to say\nthat you Jews have plotted to murder all the Christians.'", "Philammon was about to follow them, when Cyril stopped him.", "'No, the hypocrites! No blood is to be shed, they say, if we make no\nresistance, and let them pillage. Cyril and his monks are there, to", "Cyril smiled, and shook his head.\n\n'Thou art a brave boy; but hast thou not read, \"If a man smite thee on\none cheek, turn to him the other\"?'" ], [ "And as she spoke, Theon ushered into the chamber no other than Raphael\nAben-Ezra, and then retired.", "'Raphael Aben-Ezra! are you so besotted with your philosophy and your\nheathenry, and your laziness, and your contempt for God and man, that", "But little thought Raphael Aben-Ezra, as he sat there, calling up every\nresource of his wit and learning, in the hope, half malicious, half", "verse or two, and then burying his face in his hand, while hot tears\ndropped between his fingers on the paper; till a servant entering,\nannounced Raphael Aben-Ezra.", "Christianity of the soldiers, and seemed to have a word--and that the\nright word--for every man; and after a while, Aben-Ezra quite forgot", "'As your dying speech? The true Raphael Aben-Ezra, then, lives no more!'\n\n'But he may be born again.'", "'Out with you, imp of Satan!' cried Miriam. 'This is no time for\nwinebibbing. Raphael Aben-Ezra, why are you lying here? Did you not\nreceive a note last night?'", "and become an Israelite indeed. And Raphael's dialectic, too, though it\nmight silence her, could not convince her. Her creed, like those of her", "And where was Raphael Aben-Ezra?", "Hypatia answered with a forced smile.\n\n'Raphael Aben-Ezra has deserted the method of the severe dialectician\nfor that of the eloquent lover.'", "About five o'clock the next morning, Raphael Aben-Ezra was lying in bed,\nalternately yawning over a manuscript of Philo Judaeus, pulling the ears", "But while Aben-Ezra was talking to himself about the father, he could\nnot help, somehow, thinking about the daughter. Again and again he", "'Here am I, at last!' said Raphael Aben-Ezra to himself. 'Fairly and", "And the beggar, lifting his broad straw hat, disclosed the features of\nRaphael Aben-Ezra. Hypatia recoiled with a shriek of surprise.", "'Ah, Raphael Aben-Ezra! my excellent friend, what propitious\ndeity--ahem! martyr--brings you to Alexandria just as I want you? Get up", "The good bishop, to Aben-Ezra's surprise, seemed to treat the whole\nmatter as infinitely amusing. He chuckled, smote his hand on his", "'Come,' cried the cheerful voice of Synesius, 'come, Aben-Ezra; you have\nknelt for Augustine's blessing already, and now you must enter into the", "'Not that, I'll warrant her,' said Peter, with a savage sneer.\n\n'And is Raphael Aben-Ezra her pupil in philosophy?' asked Philammon.", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "Zenobia, now, with Orestes as Odenatus, and Raphael Aben-Ezra to play\nthe part of Longinus, and receive Longinus's salary of axe or poison." ], [ "But that was enough; his whole inward and outward world changed shape,\nand cracked at every joint. What if it were to fall in pieces? His brain", "She felt, she hardly knew why, but she felt as clearly as if a god had\nproclaimed it to her bodily ears, that the crisis of her life was come:", "'Fool! Vain and ambitious fool that I have been! For this I threw away\nthe faith of my childhood! For this I listened to words at which I", "towards his idol. Alas! he was torn down himself, rolled over the steps,\nand lay there half dead in an agony of weeping, as Philammon sprang up\npast him into the church.", "'Now--for I am going to be terribly scholastic--is it not the very\ndefinition of man, that he is, alone of all known things, a spirit\ntemporarily united to an animal body?'", "is much sorrow, and that while he was puzzling at the letter of God's\nmessage, the spirit of it was going fast and faster out of him.'", "parting away from the inward one. So he went no more to church, and\nlooked the other way, he hardly knew why, whenever he passed the", "'Pleasure? Is there any pleasure in feeling oneself at death-grips with\nthe devil? I bad given up believing in him for many a year .... And", "And keeping himself apart as much as possible from the congregation, as\na lonely and secret worshipper, he soon found himself as separate from\nthem in heart as in daily life. He felt that they, and even more than", "itself; if it be of the Spirit, who are we that we should fight against\nGod? Farewell.' A few minutes more, and the youth and his canoe were", "who know it judge for themselves. But in another instant he had spurned\nfrom him the poor deluded maiden, whose idolatrous ecstasies he saw", "him. But no! the die was cast, and he must down and onward, whether in\nobedience to the spirit or the flesh. Oh, for one hour of the quiet of\nthat dear Laura and the old familiar faces!", "Philammon stood stupefied and shuddering. All his own early doubts\nflashed across him like a thunderbolt, when in the temple-cave he had", "the first time in his life he found himself face to face with the\nroot-questions of all thought--'What am I, and where?' 'What can I", "back again into the faith of his childhood, and all the dark and cruel\ntheories popular in his day rose up before him in all their terrors. In\nthe innocent simplicity of the Laura he had never felt their force; but", "Whether the good spirit or the evil one would conquer, seemed for a\nmoment doubtful, when Pelagia felt a heavy hand on her shoulder, and\nturning, saw Wulf the son of Ovida.", "And Pelagia heard what he said.\n\nGradually, amid sobs and tears, and stormy confusion of impossible hopes\nand projects, those words took root in her mind, and spread, till they\nfilled her whole heart and brain.", "From the commencement of his attendance in her lecture-room she had\nsuited her discourses to what she fancied were his especial spiritual", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "stars, and right and wrong, and ghosts and spirits, and that sort of\nthing; and about not enjoying oneself too much. Not that I ever saw that\nthey were any happier than any one else.'" ], [ "advance the cause of the Church?--which Philammon soon discovered to\nmean their own cause, their influence, their self-glorification. And the", "eyes, and judge for yourself. There you may see what sort of saints are\nbred by this plan of managing the Catholic Church. There comes one of\nthem. Now! I say no more!'", "all one great fight for place and power. Every one is jealous of his\nneighbour. The priests are jealous of the deacons, and good cause they", "parting away from the inward one. So he went no more to church, and\nlooked the other way, he hardly knew why, whenever he passed the", "them that they had been taken in--that Alexander's church had never\nbeen on fire at all--that the Jews had murdered a thousand Christians\nat least, though three dead bodies, including the poor priest who lay", "towards his idol. Alas! he was torn down himself, rolled over the steps,\nand lay there half dead in an agony of weeping, as Philammon sprang up\npast him into the church.", "Church, it will be time enough to obey him: till then he is the minister\nof none but the devil. And no ecclesiastic shall suffer at the tribunal", "'What's all this about? Why are you not quietly in your beds, you\nAlexandrian rascals?'\n\n'Alexander's church is on fire,' answered Philammon, thinking the\nshortest answer the wisest.", "And now the Church had conquered. The weak things of this world\nhad confounded the strong. In spite of the devilish cruelties of", "from its own noise, burst out into open threats. 'Revenge for the\nblessed martyr Hieracas!' 'Revenge for the wrongs of the Church!' 'Down", "'Ho, ho! Quarrelled with the successor of the Apostles already? Has my\nprophecy come true, and the strong meat of pious riot and plunder proved\ntoo highly spiced for your young palate? Eh?'", "The archbishop's lodgings, when he entered them, were in a state of\nferment even greater than usual. Groups of monks, priests, parabolani,", "'No! Eudaimon, it is the church of the devils of hell!' And gathering\nhimself up, he sat upon the steps and buried his head within his hands.", "And keeping himself apart as much as possible from the congregation, as\na lonely and secret worshipper, he soon found himself as separate from\nthem in heart as in daily life. He felt that they, and even more than", "Christians, while they hated and persecuted each other for arguments\nabout Him, were denying and blaspheming in every action of their lives.", "'Oh, my friends, my friends,' cried Arsenius, 'why revile each other\nwithout cause? I, I only am to blame. I advised you, Pambo!--I sent", "priests. But that is the way of the world. The sleekest and the oiliest,\nand the noisiest; the man who can bring in most money to the charities,", "'Surely then his wish was to prevent scandal, and preserve the unity of\nthe church in the eyes of the heathen.'\n\nThe old man laughed bitterly.", "A yell of defiance answered this polite speech, and the soldiery, who\nknew perfectly well that the unarmed ecclesiastics within were not to be", "he will not be believed if he tells how good they were. In the present\ncase that disadvantage is doubled; for while the sins of the Church," ], [ "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon was about to lift her up, when Miriam caught him by the arm,\nand in a hurried whisper--'Are you mad? Will you ruin your own purpose?", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "Philammon recoiled with a groan.\n\n'Unhappy child! May God have mercy on you!'", "Philammon did understand, however, so much as this, that Hypatia was a\nvery unique and wonderful person in the mind of his little guide; and\ntherefore asked the only further question by which he could as yet test\nany Alexandrian phenomenon--", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "Philammon grasped it, and then covering his face with his hands, burst\ninto tears.\n\n'You did right. You are a brave boy. If you had died, no man need have\nbeen ashamed to die your death.'", "Philammon walked on in silence by the old priest's side, stunned and\nsickened.... 'And this is what I have come out to see--reeds shaken in", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "CHAPTER XXII: PANDEMONIUM\n\n\nBut where was Philammon all that week?", "CHAPTER XXIV: LOST LAMBS\n\n\nAnd Philammon?", "'A sister!' interrupted Philammon. 'Pelagia?'\n\n'God forbid, my son! But a sister thou hadst once--some three years\nolder than thee she seemed.'", "Philammon. Quick as a cat, he leapt upon him, felled him to the earth\nwith a single blow, tore the dagger from his hand, and sprang to his", "Philammon told, honestly enough, the story of his Nile journey, and\nPelagia's invitation to him.\n\n'You did not surely accept it?'", "Philammon had done.", "The armed men, whosoever they were, were close on them. There was no\ntime to be lost; and Philammon, assuring her that he would not desert", "Philammon, like everyone else, loved Aufugus; and when the abbot\nretired and left the two alone together, he felt no dread or shame about", "'Thou art late, son,' said the abbot, steadfastly working away at his\npalm-basket, as Philammon approached.\n\n'Fuel is scarce, and I was forced to go far.'" ], [ "'Recollect that you are a Christian,' answered Hypatia, half smiling.", "Christianity; and if, of course, Christianity should be found to be at\nvariance with that enlarged light, as Hypatia seemed to think ....", "the Christian faith, and fled away to the heathen woman, Hypatia, of\nwhom he is enamoured.'", "Hypatia was silent. One terrible possibility at which he had hinted\nflashed across her memory for the first time since;.... but she spurned\nproudly from her the heaven-sent warning.", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "'No, father. What I know, henceforth I will know for myself only.\nHypatia will be from this day alone with the Immortal Gods!'\n\n'You will not leave me?' cried the old man, terrified.", "Hypatia smiled in spite of herself at the notion. 'That would be too\nshameful! I must forego the god of light himself, if I am to see him in\nthe person of a clumsy barbarian.'", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "'Anything to bribe a convert,' said Hypatia contemptuously.", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "'I do, indeed!' said Hypatia. 'But I will not see the altar polluted by\nblood. It is the desecration which it has undergone already which has\nprovoked the god to withdraw the poetic inspiration.'", "'Impossible!'said Hypatia, blushing scarlet: 'I cannot accept it.'", "Hypatia sighed. 'Ah, that your excellency but saw the great duel which\ndepends on you alone! Do not fancy that the battle is merely between\nPaganism and Christianity--'", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "Poor Hypatia! The bait was too delicate, the tempter too wily; and yet\nshe was ashamed to speak aloud the philosophic dogma which flashed a ray", "But he was a Jew, and a man: Hypatia was a Greek, and a woman--and for\nthat matter, so were the men of her school. To her, the relations", "Possibilities? It was impossible.... Philosophy could not mislead. Had\nnot Hypatia defined it, as man's search after the unseen? And if he", "Hypatia, on Pelagia, on Arsenius--on all but God. Pray he could not, and\ndare not; for to whom was he to pray? To the stars?--to the Abysses and" ], [ "Philammon's heart smote him all that day, whenever he thought of his\nmorning's work. Till then all Christians, monks above all, had been", "Philammon grasped it, and then covering his face with his hands, burst\ninto tears.\n\n'You did right. You are a brave boy. If you had died, no man need have\nbeen ashamed to die your death.'", "Philammon walked on in silence by the old priest's side, stunned and\nsickened.... 'And this is what I have come out to see--reeds shaken in", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "Philammon's eyes were bursting from his head with shame and horror: and\nyet he could not hate her; not even despise her. He would have done so,", "Philammon's blood rushed to his heart, and then back again to his brow,\nas he reeled with horror and shame.", "He alone suspected that Philammon had been there; and shuddering at the\nthought of what might have happened, he kept his secret.", "Philammon stood stupefied and shuddering. All his own early doubts\nflashed across him like a thunderbolt, when in the temple-cave he had", "who would be glad to remove her. Wulf caught at the notion, and replied\nto it with searching questions, till Philammon, finding plain speaking\nthe better part of cunning, told him openly the whole events of the", "Philammon, who had had from the first no mind to plunder, stood watching\nRaphael with dumb wonder; and a shudder of regret, he knew not why,", "Philammon stood trembling, choking, his eyes fixed on the floor. Where\nwere all the fine things he had conned over for the occasion? He dared", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "Poor Philammon! Angry with himself for feeling that the porter was\nright; shrinking from the notion of exposing the failings of his", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "Philammon stood blushing scarlet. The sweet poison had entered, and\nevery vein glowed with it for the first time in his life. Miriam saw her\nadvantage.", "Desperately and breathlessly did Philammon drive this speech out of his\ninmost heart; and then waited, expecting the good abbot to strike him", "Philammon sobbed again, as the poor civilised savage artlessly opened to\nhim all her moral darkness. What could he say?.... he knew what to say.", "than one life to answer for. As it was, they turned and limped off,\ncursing in an unknown tongue; and Philammon found himself triumphant" ], [ "who would be glad to remove her. Wulf caught at the notion, and replied\nto it with searching questions, till Philammon, finding plain speaking\nthe better part of cunning, told him openly the whole events of the", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "Philammon stood trembling, choking, his eyes fixed on the floor. Where\nwere all the fine things he had conned over for the occasion? He dared", "CHAPTER XXII: PANDEMONIUM\n\n\nBut where was Philammon all that week?", "It was over in a few seconds. The Goth lifted Philammon like a baby in\nhis arms, and bearing him to the parapet, attempted to hurl him into the", "Philammon grasped it, and then covering his face with his hands, burst\ninto tears.\n\n'You did right. You are a brave boy. If you had died, no man need have\nbeen ashamed to die your death.'", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon could bear no more. Another moment and he had hurled down\nthrough the dense mass of spectators, clearing rank after rank of", "The armed men, whosoever they were, were close on them. There was no\ntime to be lost; and Philammon, assuring her that he would not desert", "Philammon's heart smote him all that day, whenever he thought of his\nmorning's work. Till then all Christians, monks above all, had been", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "Philammon had done.", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "'So he did,' said Philammon, dragging up his captive, 'and here is his\nfellow-scoundrel.' Whereon the two worthies were speedily tied", "He caught Philammon in his trunk and raised him high in air. For an\ninstant the great bellowing ocean of heads spun round and round. He", "Philammon stood in astonished silence; and at last--\n\n'Servant to that man? What care I for him or his honours? Why do you\ntantalise me thus? I have no wish on earth but to see my sister!'", "Philammon rose, and finished his meal by a monkish grace. A gentle and\nreverent 'Amen' rose from the other end of the room. It was the negress.", "So indeed Philammon seemed; for, springing suddenly to his feet, he\nrushed out past the gaoler, upsetting him into the corridor, and fled", "Philammon, who was among the leaders, had recoiled too--he hardly knew\nwhy--at that stern apparition. His next instinct was to press forward as" ], [ "of the Guards, being a man of some presence of mind, and also not in\nanywise respectable, pricked up the Prefect of the docks with the point", "'My dear sir,' interrupted the Prefect, 'you mean kindly. But do not, do\nnot tempt me. By the Count's side I have fought for thirty years, and by\nhis side I will die, as I deserve.'", "'The very same, my dear prefect. Now for this matter, which is really\nimportant-at least to Gentiles. Heraclian will certainly rebel. Synesius", "'Who spoke of the prefect? Whosoever is a tyrant, and a murderer, and an\noppressor of the poor, and a favourer of the philosophy which despises", "The secretary's face grew longer still.\n\n'The Jews, most August--'\n\n'What of them?' yelled the hapless Prefect. 'Have they been\nforestalling?'", "Hypatia looked at the Prefect with calm penetration, not unmixed with\nscorn and fear.", "Alexandria then, as in all great cities since, who were staring at the\nprefect, and having their heads rapped by his guards, and wondering what", "'Here, your Excellency.'\n\n'To the Prefect of the Corn market--how many wheat-ships have you\nordered to be unladen?'\n\n'Two, your Excellency.'", "'I expected this,' said the Prefect, in a slow stately voice. 'Hear me,\nsir! Jew, Christian, or philosopher, God seems to have bestowed on you a", "unfortunately misinformed as to those sentiments of affection and\nrespect which his excellency the Prefect was well known to entertain\ntowards him. They ventured, therefore, to express a humble hope that,", "'Exactly what I don't want to do. I hate that prefect as I hate a dead\ncamel, or the vulture who eats him. And to tell the truth, I am growing\na great deal too fond of that heathen woman there--'", "was before them waiting to be plundered, and they would fulfil their\nmission, whensoever it suited them. In the meantime they were in no\nhurry. Egypt furnished in profusion every sort of food which could", "CHAPTER XVIII: THE PREFECT TESTED", "As he left the prefect's door, he saw Miriam on the opposite side of the\nstreet, evidently watching for him. As soon as she saw him, she held on", "A cry arose of 'Orestes! Orestes! Health to the illustrious Prefect!\nThanks for his bounty!' And a hired voice or two among the crowd", "'I am sorry for your eyesight, then, sir,' said the Prefect severely,\n'if it has been able to discern no more than that in so august a\ncharacter.'", "the Egyptians, wherein Moses the man of God was learned of old--why\nshould not he know it too? What awful secrets might not be hidden there\nabout the great world, past, present, and future, of which he knew only", "of crying, 'Imperator Orestes,' but thought better of it; and waited for\nsome one else to cry first--being respectable. Whereon the Prefect", "attacked first, he is to give us the signal, and we are to pack up and\nrow round thither. And in the meanwhile he is to make that hound of a\nGreek prefect as drunk as he can.'", "'After all, it will serve the hussy right. But Amalric?'\n\n'Out of sight, out of mind.'\n\n'But they say the Prefect means to marry the girl.'" ], [ "Philammon, at his wits' end between dread and longing, started off,\nand ran the whole way home to the Serapeium, regardless of carriages,", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "Philammon, furious at the notion of persecution, maddened by the cries\naround him, found himself bursting fiercely through the crowd, till he", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "Philammon thanked him heartily for the offer, though he shrank from\naccepting it; and in ten minutes more found himself at the door of the", "CHAPTER XXII: PANDEMONIUM\n\n\nBut where was Philammon all that week?", "Philammon, of course, now that he had leave to go, longed to stay--at\nall events, he must go back and thank his hosts. He turned unwillingly", "Philammon threw himself on the floor in a corner, and slumbered like a\nchild, till he was awakened in the gray dawn by one of the parabolani.", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "So indeed Philammon seemed; for, springing suddenly to his feet, he\nrushed out past the gaoler, upsetting him into the corridor, and fled", "host, who never lost heart for a moment, either about himself, or any\nother human being. As for Philammon's going out with him to earn his", "'Well,' thought Philammon, 'I have come out to see the world, and I\nseem, at this rate, to be likely to see enough of it.'", "Philammon heard no more. With the passionate and impulsive nature of\na Greek fanatic, he burst forward through the crowd, towards the steps", "Twice the old man lifted his staff to strike; twice he laid it down\nagain; and then, slowly rising, left Philammon kneeling there, and moved\naway deliberately, and with eyes fixed on the ground, to the house of\nthe brother Aufugus.", "Philammon followed, sulkily and unwillingly, at a foot's pace; but he\nhad not gone a dozen yards when a pitiable voice at his feet called to\nhim--", "So Philammon went out with the parabolani, a sort of organised guild\nof district visitors.... And in their company he saw that afternoon", "He alone suspected that Philammon had been there; and shuddering at the\nthought of what might have happened, he kept his secret.", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "said Philammon to himself, as he staggered along under the weight of a\ngroaning fever-patient. 'Can there be found no fitter work for me than" ], [ "Philammon, utterly bewildered by this newest and strangest phase of\nhuman passion, could only gasp out--\n\n'But do you not love me, too, my sister?'", "'A sister!' interrupted Philammon. 'Pelagia?'\n\n'God forbid, my son! But a sister thou hadst once--some three years\nolder than thee she seemed.'", "on in the opposite brain. Philammon, though his heart was full of his\nsister, could not help noticing the air of deep sadness which hung about", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "through Philammon's ears, proclaiming to heaven and earth, as with a\nmighty trumpet-blast, his sister's shame.", "'And I have a sister!' gasped Philammon, his eyes bursting with tears.\n'We must find her! You will help me?--Now--this moment! There is nothing", "Philammon shuddered, and submitted. The spell of the woman's eye, the\nterror of her words, which he half believed, and the agony of longing,\nconquered him, and he gasped out--", "Philammon was about to lift her up, when Miriam caught him by the arm,\nand in a hurried whisper--'Are you mad? Will you ruin your own purpose?", "'Pelagia, Pelagia, darling sister!' cried Philammon, in an agonised\nvoice, 'think of the doom of sin! Think of the pains of hell!'", "'Let us talk no more of her, my beloved,' said Philammon, laying his\nhands gently on her trembling shoulders, and looking earnestly into", "'No.'\n\n'Thanks be to God. But, Philammon, if thou hadst had a sister-hush! And\nif--I only say if--,", "Poor Philammon! He was no longer master of himself. The arguments--the\nwine--the terrible spell of the old woman's voice and eye, and the", "Philammon, to whom the whole was supremely absurd, had no invocation to\nmake, but one which he felt too sacred for his present temper of mind:", "It was Philammon's. He had been listening to the whole lecture; and yet\nnot so much listening as watching, in bewilderment, the beauty of the", "'What is the matter, my father?' asked Philammon. 'You seem deeply moved\nabout this woman....'\n\n'And she is Miriam's slave?'", "that simple word, which made Philammon's brain reel and his heart throb\nmadly? A sister! not merely a friend, an equal, a help-mate, given", "Philammon's eyes were bursting from his head with shame and horror: and\nyet he could not hate her; not even despise her. He would have done so,", "CHAPTER XXIV: LOST LAMBS\n\n\nAnd Philammon?", "But Philammon pushed past her so fiercely, that the old woman was\nforced to give way, and with a sinister smile she followed him into the\nchamber.\n\nPelagia sprang towards her brother.", "'Oh' forgive me!' said Philammon, terrified at the fruits of his own\nclumsiness. 'But you forget--you forget, she is not married to him!'" ], [ "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "And then began a butchery.... Some fifty men, women, and children were\ncooped together in that narrow space.... And yet Hypatia's countenance", "Twenty years after Hypatia's death, philosophy was flickering down\nto the very socket. Hypatia's murder was its death-blow. In language", "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "And Hypatia, turning pale as death, drew her father with unphilosophic\nhaste down a side-walk.", "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "'Do not! I charge you!' said Hypatia, almost imploringly. But there was\nnow no way of avoiding her, and perforce Hypatia and her tormentress met\nface to face.", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her", "As Hypatia went forth the next morning, in all her glory, with a crowd\nof philosophers and philosophasters, students, and fine gentlemen,", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "Hypatia was silent. One terrible possibility at which he had hinted\nflashed across her memory for the first time since;.... but she spurned\nproudly from her the heaven-sent warning.", "And she departed to her incantations; while Hypatia threw herself upon\nher bed at home, and filled the chamber with a long, low wailing, as", "Hypatia took the tempting bait, and examined it with more curiosity than\nshe would have wished to confess; while the old woman went on--", "Hypatia's arms dropped suddenly. Yes; it was true! The thought flashed\nacross her mind with mingled delight and terror.... Visions of her", "I have, in my sketch of Hypatia and her fate, closely followed authentic\nhistory, especially Socrates' account of the closing scene, as given", "True, he and his monks had conquered; but Hypatia did not die unavenged.\nIn the hour of that unrighteous victory, the Church of Alexandria", "'Go now, my pupils. Hypatia has no more for you to-day. Go now, and\nspare her at least--woman as she is after all--the shame of finding", "theatre itself. But Hypatia sat still in her chamber, her face buried in\nher hands, her heart full of many thoughts; her eyes of tears. She had" ], [ "But while Aben-Ezra was talking to himself about the father, he could\nnot help, somehow, thinking about the daughter. Again and again he", "And as she spoke, Theon ushered into the chamber no other than Raphael\nAben-Ezra, and then retired.", "'Raphael Aben-Ezra! are you so besotted with your philosophy and your\nheathenry, and your laziness, and your contempt for God and man, that", "verse or two, and then burying his face in his hand, while hot tears\ndropped between his fingers on the paper; till a servant entering,\nannounced Raphael Aben-Ezra.", "But little thought Raphael Aben-Ezra, as he sat there, calling up every\nresource of his wit and learning, in the hope, half malicious, half", "And the beggar, lifting his broad straw hat, disclosed the features of\nRaphael Aben-Ezra. Hypatia recoiled with a shriek of surprise.", "'As your dying speech? The true Raphael Aben-Ezra, then, lives no more!'\n\n'But he may be born again.'", "bosom held one spark of affection for Raphael. If there had ever been\nany danger of that the wily Jew had himself taken care to ward it off,", "'Out with you, imp of Satan!' cried Miriam. 'This is no time for\nwinebibbing. Raphael Aben-Ezra, why are you lying here? Did you not\nreceive a note last night?'", "About five o'clock the next morning, Raphael Aben-Ezra was lying in bed,\nalternately yawning over a manuscript of Philo Judaeus, pulling the ears", "'Here am I, at last!' said Raphael Aben-Ezra to himself. 'Fairly and", "Raphael stood watching silently, while Miriam, who had followed him\nupstairs, paced the room in an ecstasy of rage, calling vainly to him to\nspeak or act.", "He still breathed. The girl lifted up his head and covered him with\nwild kisses. Raphael looked round for water; found a spring and a broken", "'Because--because--No, I'll tell you that another time. But I loved your\nmother, and she loved me. Come!'\n\nRaphael relapsed into silence for a few minutes, and watched the tumult\nbelow.", "worse than all, the growing difference in purpose between him and\nhis beautiful teacher, made his protection all but valueless. And now\nAben-Ezra was gone too, and with him were gone a thousand plans and", "Hypatia blushed somewhat; she was ashamed to confess that Aben-Ezra had\nnot revealed the secret to her, probably not believing that there was", "It was near midnight. Raphael had been sitting some three hours in\nMiriam's inner chamber, waiting in vain for her return. To recover, if", "The voice was low, but yet so clear and calm, that every syllable rang\nthrough Aben-Ezra's tingling ears....", "'Wedded love?.... Wedded love? Is that, then, the paltry bait by which\nRaphael Aben-Ezra has been tempted to desert philosophy?'", "'Not that, I'll warrant her,' said Peter, with a savage sneer.\n\n'And is Raphael Aben-Ezra her pupil in philosophy?' asked Philammon." ], [ "'Victorius! Victoria!' cried Raphael; 'help me! Your father,' he went\non, as they came out from the tent, 'is still decided on losing his own\nhead, and throwing away ours, by going to Carthage.'", "'Did I not tell you,' said Victoria, leaning toward Raphael, 'that God\nwould protect His own?'\n\n'You did,' answered he; and fell into a long and silent meditation.", "'Because--because--No, I'll tell you that another time. But I loved your\nmother, and she loved me. Come!'\n\nRaphael relapsed into silence for a few minutes, and watched the tumult\nbelow.", "He still breathed. The girl lifted up his head and covered him with\nwild kisses. Raphael looked round for water; found a spring and a broken", "'He is my father!'\n\n'Well?'\n\n'You must save him! You shall, I say!' And she seized Raphael's arm in\nthe imperiousness of her passion.", "sorrows for the time, as soon as he found a human being to whom he might\ndo good. But Raphael was inexplicably wayward and unlike himself. All", "'And you knew it for what it is!' cried Raphael through his sobs, as he\nthought of Victoria, and felt every vein burning with righteous wrath.", "And so they both were silent for a while. And Raphael thought solemn\nthoughts about Victoria, and about ancient signs of Isaiah's, which were", "The officer looked down on with a stately, loving sorrow. Raphael caught\nhis eye, and felt that he was in the presence of no common man.", "bosom held one spark of affection for Raphael. If there had ever been\nany danger of that the wily Jew had himself taken care to ward it off,", "'Death?' cried Raphael, seizing her by the arm. 'If that were all--'", "'Whether he be consistent or not about marriage,' said Raphael, somewhat\nproudly, 'I care little. I went to him to tell me, not about the", "'I need no proof, mother. Your words are enough,' said Raphael, as\nhe clasped her hand between his own, and pressed it to his burning", "The girl still sat by him, fondling her recovered treasure, and bathing\nthe grizzled face in holy tears.\n\n'It is no business of mine,' said Raphael. 'Come, Bran!'", "Raphael, sickened with disgust, half-turned to follow him: but his\nbetter angel conquered, and he obeyed the summons of the deacon who\nushered him in.", "'Thank Heaven!' said Raphael to himself. 'She does not care for me,\nthen! If she had, pride would have kept her from that sneer.' Yes, my", "'Stop!' said Raphael, 'I must speak! Mother! I must! As you love me, as\nyou expect me to love you, answer! Had you a hand in her death? Speak!'", "Raphael stood watching silently, while Miriam, who had followed him\nupstairs, paced the room in an ecstasy of rage, calling vainly to him to\nspeak or act.", "propounded. It had seemed at first a mere affectation; but the arguments\nwhich it was employed to enforce were in themselves so moderate and so\nrational that Raphael began to feel, little by little, that his apparent", "and become an Israelite indeed. And Raphael's dialectic, too, though it\nmight silence her, could not convince her. Her creed, like those of her" ], [ "Arsenius had his reasons for suspecting that Philammon was but too\nright. But he contented himself with yielding to the boy's excitement,\nand set off with him in the direction of the dancer's house.", "'What's all this about? Why are you not quietly in your beds, you\nAlexandrian rascals?'\n\n'Alexander's church is on fire,' answered Philammon, thinking the\nshortest answer the wisest.", "Philammon, at his wits' end between dread and longing, started off,\nand ran the whole way home to the Serapeium, regardless of carriages,", "'Nor can I,' said Philammon.\n\n'But we think otherwise, you see, in Alexandria here. We can't even walk\nup the steps of God's temple without an additional protection to our\ndelicate feet.'", "Philammon told, honestly enough, the story of his Nile journey, and\nPelagia's invitation to him.\n\n'You did not surely accept it?'", "Philammon did understand, however, so much as this, that Hypatia was a\nvery unique and wonderful person in the mind of his little guide; and\ntherefore asked the only further question by which he could as yet test\nany Alexandrian phenomenon--", "'Philammon, our spiritual son, whom we sent down to you three months\nago,' said Pambo. 'Risen to honour he is, by this time, I doubt not?'\n\n'He? He is gone!'", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "commanding him to mention no word of what had happened, and to come to\nhim that evening and receive his order when he should have had time\nto think over the matter. So forth Philammon went with his companions,", "'He commanded me to see him,' said Philammon, with the true soldierlike\ndiscipline of a monk; 'and see him I will in spite of any man. I believe", "CHAPTER XXII: PANDEMONIUM\n\n\nBut where was Philammon all that week?", "Philammon hailed the question as a godsend.--Now for his message! And\nyet he faltered as he answered, with a desperate effort,--'To rebuke you\nfor your sins.'", "Philammon, furious at the notion of persecution, maddened by the cries\naround him, found himself bursting fiercely through the crowd, till he", "'Philammon. A Greek. You are said to have learned to obey. If so you\nhave also learned to rule. Your father-abbot has transferred you to my\ntutelage. You are now to obey me.'", "Philammon hesitated. Something within warned him, as the Daemon used\nto warn Socrates, that his errand would be bootless. He thought of the", "In the four hundred and thirteenth year of the Christian Era, some three\nhundred miles above Alexandria, the young monk Philammon was sitting on", "The armed men, whosoever they were, were close on them. There was no\ntime to be lost; and Philammon, assuring her that he would not desert", "Philammon stood in astonished silence; and at last--\n\n'Servant to that man? What care I for him or his honours? Why do you\ntantalise me thus? I have no wish on earth but to see my sister!'", "intended them to be of some use to that other sex, with whom it has so\nmixed them up. Don't argue, poor Philammon; Alexander's church is on\nfire!-forward!" ], [ "Hypatia sat trembling with shame and dread. She, as a disciple of the\nmore purely spiritualistic school of Porphyry, had always looked with", "the Christian faith, and fled away to the heathen woman, Hypatia, of\nwhom he is enamoured.'", "But he was a Jew, and a man: Hypatia was a Greek, and a woman--and for\nthat matter, so were the men of her school. To her, the relations", "'Anything to bribe a convert,' said Hypatia contemptuously.", "Alas! as Augustine said once, bitterly enough, of his own Manichaean\nteachers, Hypatia had taken away the living God, and given him instead", "curse of the Alexandrian Church, then Hypatia was the curse of Orestes.\nOn her head the true blame lay. She was the root of the evil. Who would\nextirpate it?....", "'You seem wonderfully taken with the sophist of Hippo,' said Hypatia\nimpatiently; 'and forget, perhaps, that his opinions, especially when,", "Hypatia was cowed; for of one thing there was no doubt,--that the woman\nutterly believed her own words; and that was a state of mind of which", "Christianity; and if, of course, Christianity should be found to be at\nvariance with that enlarged light, as Hypatia seemed to think ....", "all that there was to see, began openly to murmur at the cruelty and\nheathenry of it. Hypatia, utterly unnerved, hid her face in both her", "There was no escape for Hypatia; pride forbade her to follow her own\nmaidenly instinct, and to recoil among the crowd behind her; and in", "Hypatia waved her beautiful hand. 'I know whom you would say.... that\ncrucified one. Be it so. I want not a man, but a god.'", "Hypatia felt herself tricked: but there was no escape now.\n\n'And who, pray, is to disgrace herself and me, as Venus Anadyomene?'", "Hypatia bit her lip once more. 'I can hear no more of this, sir. You\nforget that you are speaking to a woman.'", "'Hypatia! She is dead!'\n\n'Dead?' shrieked Pelagia.\n\n'Murdered, an hour ago, by those Christian devils.'", "'Foolish child!' answered Hypatia, with some affectation of\nindifference. 'And why should that disturb me? Let him enter.'", "Hypatia, or anything else, and give me a real handle against him! After\nall, truth works better than lying now and then. Oh, that I could poison", "'Recollect that you are a Christian,' answered Hypatia, half smiling.", "'And pray,' asked Hypatia, crushing down her contempt and despair, 'how\nis this to bear on the worship of the gods?", "Twenty years after Hypatia's death, philosophy was flickering down\nto the very socket. Hypatia's murder was its death-blow. In language" ], [ "Hypatia turned pale as death. Was it Philammon again? She felt for the\ntalisman--it was gone! She must have lost it last night in", "She saw him look up at her, dropped her eyes modestly, and bustled away\nwith the remnants, while Philammon and his host started for Hypatia's\nlecture-room.", "and Philammon followed him, not daring to look back at Hypatia, while\nthe whole room swam before his eyes.", "Such was the conversation which passed between Hypatia and Orestes half\nan hour after Philammon had taken possession of his new abode.", "The girls vanished accordingly, whispering and laughing; and Philammon\nfound himself alone. Although he was somewhat soothed by the old woman's", "Philammon did understand, however, so much as this, that Hypatia was a\nvery unique and wonderful person in the mind of his little guide; and\ntherefore asked the only further question by which he could as yet test\nany Alexandrian phenomenon--", "And she departed to her incantations; while Hypatia threw herself upon\nher bed at home, and filled the chamber with a long, low wailing, as", "In ten minutes more Philammon was in Hypatia's hall. The household\nseemed full of terror and disturbance; the hall was full of soldiers. At", "Philammon recoiled across the pavement, with eyes flashing defiance. A\nslave! The light of heaven grew black to him.... Oh, that Hypatia might\nnever know his shame! Yet it was impossible. Too dreadful to be true....", "So be it. Pelagia and Philammon, like the rest, went to their own place;\nto the only place where such in such days could find rest; to the desert", "She ended: and Philammon, the moment that the spell of her voice was\ntaken off him, sprang up, and hurried out through the corridor into the\nstreet....", "Philammon, it may be seen, was far advanced by this time; for he bore\nthe allusions to Isis without the slightest shudder. Nay--he dared even\nto offer consolation to the beautiful mourner.", "He departed; and Hypatia, half dreading her own thoughts, sat down at\nonce to labour at the ode. Certainly it was a magnificent subject. What", "Philammon hurried home with Eudaimon. Little cared he now for Hypatia's\nwarning against Miriam.... Was he not in search of a sister?", "Philammon looked round for the negress, but she had vanished. He was far\ntoo much ashamed of being known to have been alone with a woman to say", "Cyril heard Philammon's story and Hypatia's message with a quiet smile,\nand then dismissed the youth to an afternoon of labour in the city,", "Philammon, at his wits' end between dread and longing, started off,\nand ran the whole way home to the Serapeium, regardless of carriages,", "Philammon saw that it was his only chance, and did so; and in another\nminute he found himself rushing headlong into the archway of Pelagia's", "Hypatia watched all this with growing self-satisfaction, and fed herself\nwith the dream that through Philammon she might see her wildest hopes", "'There is Miriam again,' said Philammon, 'right before us!'\n\n'Miriam?' asked Hypatia severely. 'You know her then? How is that?'" ] ]

[ "What causes Hypatia to almost convert to Christianity?", "Who raises tensions between Orestes and the church by way of orchestrating evens?", "What is Orestes's main goal?", "Who murders Hypatia?", "Why does Hypatia end up not converting to Christianity?", "Where does Philammon end up after Hypatia's death?", "Who is Pelagia?", "In what city does this story take place?", "Which character is an Egyptian Monk in the story?", "Where does Philammon travel to after leaving his monastic community?", "How are Philammon and Pelagia related?", "What job did Pelagia have before getting married?", "Who is scheming to become the emperor of Egypt and Africa?", "What does Raphael Aben-Ezra do to win the love of a woman named Victoria?", "What causes Hypatia to almost convert to Christianity?", "Who does the Christian mob blame for the unrest in the city?", "What happens to Hypatia at the end of the story?", "What job does Philammon take after returning to the desert?", "Who is the pagan philosopher?", "Who is the Christian patriarch?", "Who is the Egyptian monk?", "Who is the prefect of Egypt?", "Who is Pelagia?", "What is Orestes' goal?", "Who murders Hypatia?", "Why does Raphael Aben-Ezra convert to Christianity?", "Why is Hypatia murdered?", "Where is Philammon from?", "Who does Philammon the Monk go to see in the desert?", "What is Orestes' goal?", "What religion is Cyril?", "Who does Raphael AbenEzra convert to Christianity for?", "Who has a spritual crisis?", "Who causes conflict in the church?", "Is Plilammon n only child?", "Why doesn't Hypatia become a Christian ?", "How doew Plilammon feel after the murder?", "What happens to Phillamon ?", "Who is the prefect of Egypt?", "Where does Philammon travel to?", "Who is Philammon's sister?", "How does Hypatia die?", "Who does Raphael Aben Ezra fall in love with?", "What does Raphael do to win Victoria's love?", "Why does Phillammon travel to Alexandria?", "What religion does Hypatia hate?", "Where does Philammon go after Hypatia dies?" ]

[ [ "A spiritual crisis she undergoes.", "She underwent a spiritual crisis. " ], [ "A Jewish woman, Miriam.", "a jewish woman named Miriam" ], [ "Become emperor of Africa and Egypt.", "emperor of Egypt and Africa" ], [ "A christian mob that is convinced she is the cause of unrest in the city.", "A Christian mob. " ], [ "She is murdered before she has the chance. ", "She is murdered." ], [ "In the desert as the abbot of a monastery.", "Back at him monastery in the desert" ], [ "Phiammon's long lost sister. ", "Philammon's sister" ], [ "Alexandria. ", "Alexandria" ], [ "Philammon is the Egyptian monk.", "Philammon" ], [ "Philammon travels to Alexandria.", "Alexandria" ], [ "Pelagia is Philammon's long lost sister.", "Pelagia is Philammon long lost sister" ], [ "Pelagia was a singer and dancer.", "She was a singer and dancer. " ], [ "Orestes' is scheming to become the emperor.", "Orestes." ], [ "Raphael Aben-Ezra converts to Christianity.", "Converts" ], [ "Hypatia has a spiritual crisis.", "undergoes a spiritual crisis" ], [ "The mob blames Hypatia.", "Hypatia." ], [ "Hypatia is murdered by a Christian mob.", "she is murdered by a christian mob" ], [ "Philammon become abbot of his monastery.", "abbott of his monastery" ], [ "Hypatia", "Hypatia." ], [ "Cyril", "Cyril" ], [ "Philammon", "Philammon." ], [ "Orestes", "Orestes" ], [ "Philammon's long lost sister", "Plilammon's long-lost sister" ], [ "He wants to become emperor of Egypt and Africa.", "To become emperor of Egypt and Africa." ], [ "A Christian mob", "A Christian mob" ], [ "To win the love of Victoria.", "To win Victoria's love. " ], [ "Rumors were spread that she caused the unrest in the city.", "people think she caused the unrest in the city" ], [ "A monastic community in the dessert", "Desert." ], [ "Hypatia the Pagan.", "Orestes." ], [ "To become emperor of Egypt & Africa.", "To become emperor of Egypt and Africa. " ], [ "She is a Christian.", "Christian." ], [ "Victoria.", "Victoria." ], [ "Hypatia.", "Hypatia" ], [ "Miriam.", "Miriam." ], [ "He has a sister named Pelagia.", "No, he has a long-lost sister." ], [ "She is murdered by a crowd.", "She is murdered before she gets the chance to convert" ], [ "Despondent.", "He is despondent" ], [ "He becomes abbot of his monastery.", "He returns to the desert" ], [ "Orestes.", "Orestes." ], [ "Alexandria.", "Alexandria." ], [ "Pelagia.", "Peligia" ], [ "Murdered by a mob.", "At the hands of the Christian mob." ], [ "Victoria.", "a christian girl named Victoria" ], [ "He converts to Christianity.", "Converts to Christianity." ], [ "To hear Hypatia lecture.", "To attend Hypatia's lectures" ], [ "Christianity.", "Christianity" ], [ "Back to his desert monastery.", "the desert" ] ]

[ [ "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "...but my feeling is that when the going\n gets rough upstairs tonight, Ted Striker's\n gonna fold up.", "Ted, the altitude! We're falling, we're\n falling!", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "experience at all. He'll be a menace to\n himself and everything else in the air...\n (he pauses to listen)\n ...Yes, birds too.", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job", "Ease up, Rex! He hasn't flown for years!\n It's not his fault. It could happen to any\n pilot.", "Well, to be honest, I'm very scared. But\n at least I've got a husband.\n \n EXT. AIRPORT - NIGHT", "Sorry to bother you. We were just looking\n for someone with flying experience.\n \n Randy exits. They return to reading their PLAYRAMA magazine", "flying the plane for that, Joey.\n \n JOEY\n Aw, gee whiz.", "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "You're too low, Ted! You're too low!\n \n Fighter plane CRASHES.", "Ted, what does it mean to you? For me, it\n was a living hell. Do you know what it's\n like to fall in the mud and get kicked? In", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "flying. All I know is this: you're the\n only person on this plane who can possibly\n fly it. You're the only chance we've got." ], [ "ELAINE\n This is Elaine Dickinson. I'm the\n stewardess. Captain Oveur is passed out on", "STRIKER\n Can you tell me if Elaine Dickinson is on\n this flight?\n \n She looks at her list.", "Elaine dancing with grizzly looking cutthroat.\n \n STRIKER (v.o.)\n I was captivated, entranced.", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "DR. RUMACK\n I'll be back in a minute.\n \n Rumack takes Elaine aside.", "Elaine exits.\n \n SHIRLEY\n OOOOOO.", "Elaine is handing out magazines.\n \n OVEUR (v.o.)\n Good evening, this is Captain Oveur", "Elaine's dancing partner is stabbed in the back and falls to\n the grould. No one notices but Striker who eagerly fills in.", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "Nose dowm.\n \n ELAINE (v.o.)\n (hysterically)", "Elaine! Roger, Roger! I read you. This is\n Steve McCroskey at Chicago Air Control.\n \n ELAINE", "conversation, beckons to Elaine.\n \n MRS. YAFFE\n Stewardess, I think the man next to me is", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "Elaine is speaking to couple.\n \n ELAINE\n I'm sorry I had to wake you. I'm just", "ELAINE\n Captain, one of the women passengers is\n very sick.\n \n INT. COCKPIT - NIGHT", "INT. PASSENGER CABIN - ANOTHER AREA - NIGHT\n \n Elaine approaches Mrs. Davis and Lisa." ], [ "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is replacing a magazine and catches sight of Striker.", "McCobb untangles himself and walks off.\n \n INT. HOSPITAL - CLOSEUP - ELAINE - DAY", "Elaine exits.\n \n SHIRLEY\n OOOOOO.", "Elaine is speaking to couple.\n \n ELAINE\n I'm sorry I had to wake you. I'm just", "Elaine enters terminal building.\n \n INT. TERMINAL BUILDING - NIGHT", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "will be different...like it was in the\n beginning. Remember?\n \n ELAINE\n I remember everything. All I have are", "Nose dowm.\n \n ELAINE (v.o.)\n (hysterically)", "But it won't be. Not as long as you insist\n on living in the past!\n \n Elaine leaves, teary-eyed.", "INT. PASSENGER CABIN - ANOTHER AREA - NIGHT\n \n Elaine approaches Mrs. Davis and Lisa.", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "After the war, I just wanted to get as far\n away from things as possible. So Elaine\n and I joined the Peace Corps. We were", "All right, Striker, you're doing just\n fine.\n \n STRIKER\n (to Elaine)", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "ELAINE\n Well...\n \n INT. PASSENGER CABIN - NIGHT", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY" ], [ "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "...but my feeling is that when the going\n gets rough upstairs tonight, Ted Striker's\n gonna fold up.", "experience at all. He'll be a menace to\n himself and everything else in the air...\n (he pauses to listen)\n ...Yes, birds too.", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "flying. All I know is this: you're the\n only person on this plane who can possibly\n fly it. You're the only chance we've got.", "Ted, what does it mean to you? For me, it\n was a living hell. Do you know what it's\n like to fall in the mud and get kicked? In", "It's too late, Ted. When I get back to\n Chicago, I'm going to start my life all\n over again. I'm sorry.", "have to let him get the feel of this\n airplane on the way; you'll have to talk\n him onto the approach; and so help me,", "Well, to be honest, I'm very scared. But\n at least I've got a husband.\n \n EXT. AIRPORT - NIGHT", "Ted, the altitude! We're falling, we're\n falling!", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT", "KRAMER (v.o.)\n ...and, Ted, I just want you to know, that\n when the going got tough up there, when", "drifting in his way. Finally, he throws the autopilot to the\n rear of the cockpit.\n \n KRAMER (v.o.)", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "flying the plane for that, Joey.\n \n JOEY\n Aw, gee whiz.", "Ease up, Rex! He hasn't flown for years!\n It's not his fault. It could happen to any\n pilot.", "When he tries to remove paper from typewriter, it rips in\n half.\n \n EXT. AIRPLANE - NIGHT", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job" ], [ "DR. RUMACK\n All right, now we know what we're up\n against. Every passenger on this plane who\n ate fish for dinner will become violently", "Randy enters cockpit.\n \n RANDY\n We have two more sick people, and the rest\n of the passengers are worried.", "DR. RUMACK\n That's right.\n \n ELAINE\n We have some passengers who are very sick.", "Airsick?\n \n ELAINE\n I think so, but I've never seen it so\n acute.", "crew has been taken ill...slightly ill.\n \n His nose is getting longer.\n \n DR. RUMACK", "ELAINE\n Captain, one of the women passengers is\n very sick.\n \n INT. COCKPIT - NIGHT", "Murdock, flying the plane alone, wipes his brow and appears\n ill.", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "Steve, these reporters won't leave without\n a statement.\n \n REPORTER #1\n How much longer can the sick passengers", "on ­board who knows how to fly a plane?\n \n Absolute pandemonium. Passengers are yelling, screaming,", "Randy drags unconscious pilot, Oveur, down center aisle.\n \n ELAINE (v.o.)\n This is due to periodic air pockets we", "Extremely serious. It starts with a slight\n fever.\n \n Oveur experiences what the doctor is describing.", "Rumack's nose elongates slightly.\n \n DR. RUMACK\n Now, it is true that one of the flight", "But the other two pilots are just fine and\n at the controls flying the plane.\n \n Rumack's nose is a foot long.", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "Doctor Rumack, Mister Hammen ate fish. And\n Randy says there are five more cases, and\n they ate fish, too.", "positions.\n \n Passengers assume various awkward poses as though plane had\n just crashed.", "INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. Rumack is examining a\n female patient.", "INT. PASSENGER CABIN - NIGHT\n \n Absolute pandemonium. Passengers are yelling, screaming,\n tearing their hair out, climbing about." ], [ "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "INT. COCKPIT - NIGHT\n \n Striker and Elaine look at each other, panicked.\n \n INT. TOWER - NIGHT", "Elaine takes her seat as Striker regains control of the\n plane. He hands Elaine the mike.\n \n STRIKER", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "INT. COCKPIT - NIGHT\n \n Elaine rings alarm bell.\n \n INT. PASSENGER CABIN - NIGHT", "Back of automatic pilot with Elaine kneeling over its\n crotch.\n \n INT. PASSENGER CABIN - OUTSIDE OF COCKPIT - NIGHT", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "is frantically searching for automatic pilot button.\n \n ELAINE\n There it is!", "Oveur passes out.\n \n ELAINE\n Uh, automatic pilot...automatic pilot?", "ELAINE\n (into mike)\n The gear is down.\n \n INT. TOWER", "Hold all takeoffs. I don't want another\n plane in the air. When the 508 reports,\n bring it straight in.", "ELAINE (v.o.)\n And we're ready to land.\n \n McCROSKEY", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "Now ease her down! Down!\n \n EXT. RUNWAY - NIGHT\n \n Plane is a few feet from ground.", "ELAINE\n No, wait. Now it says thirty-four thousand\n feet. It's dropping! It's dropping fast!", "niner, throttle back slightly and begin to\n lose altitude to fifteen hundred feet.\n \n ELAINE (v.o.)", "Randy drags unconscious pilot, Oveur, down center aisle.\n \n ELAINE (v.o.)\n This is due to periodic air pockets we", "Rumack burst into cockpit. Oveur gets into pilot's seat.\n Elaine enters.\n \n OVEUR" ], [ "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "drifting in his way. Finally, he throws the autopilot to the\n rear of the cockpit.\n \n KRAMER (v.o.)", "Rumack slams the door in disbelief.\n \n CLOSEUP - AUTOMATIC PILOT", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "is frantically searching for automatic pilot button.\n \n ELAINE\n There it is!", "Oveur passes out.\n \n ELAINE\n Uh, automatic pilot...automatic pilot?", "KRAMER\n All right. Now I'd like you to disengage\n the automatic pilot. But watch any violent", "Back of automatic pilot with Elaine kneeling over its\n crotch.\n \n INT. PASSENGER CABIN - OUTSIDE OF COCKPIT - NIGHT", "As Striker leaves he puts autopilot into pilot's seat.\n Elaine is on the verge of tears.\n \n DRAMATIC MUSIC.", "Hi, Steve!\n \n McCROSKEY (v.o.)\n Now listen carefully. Is the automatic\n pilot on? Over.", "Automatic pilot is at controls. He salutes Striker and\n Elaine and winks at CAMERA.", "semi-consciousness.\n \n OVEUR\n (gasping)\n Turn...on...automatic pilot.", "Why is it doing that?\n \n By now the automatic pilot is really slumped over as it is\n quite deflated. It is staring at her with a half smile.", "Striker, that plane can't land itself! It\n takes a pilot who can handle pressure.\n \n McCROSKEY", "of the automatie pilot there is a hollow\n tube. Can you see that?\n \n ELAINE", "heavy compared to a fighter.\n \n Striker is fighting the wheel and the autopilot which is", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "INSERT - SWITCH MARKED \"AUTOMATIC PILOT\"\n \n Elaine's hand tenuously reaches for and turns switch to\n \"ON\".", "with the controls. Later we'll run through\n the landing procedure.\n \n Kramer takes a last drag on his cigarette and tosses it out" ], [ "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "INT. COCKPIT - NIGHT\n \n Elaine rings alarm bell.\n \n INT. PASSENGER CABIN - NIGHT", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "Elaine takes her seat as Striker regains control of the\n plane. He hands Elaine the mike.\n \n STRIKER", "ELAINE (v.o.)\n And we're ready to land.\n \n McCROSKEY", "ELAINE\n This is Elaine Dickinson. I'm the\n stewardess. Captain Oveur is passed out on", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "is frantically searching for automatic pilot button.\n \n ELAINE\n There it is!", "I'll take it, Elaine.\n \n She turns to face him. A dramatic moment. Striker enters\n pilot seat and takes mike from Elaine's hand.", "Oveur passes out.\n \n ELAINE\n Uh, automatic pilot...automatic pilot?", "Back of automatic pilot with Elaine kneeling over its\n crotch.\n \n INT. PASSENGER CABIN - OUTSIDE OF COCKPIT - NIGHT", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "Randy drags unconscious pilot, Oveur, down center aisle.\n \n ELAINE (v.o.)\n This is due to periodic air pockets we", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT" ], [ "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "have to let him get the feel of this\n airplane on the way; you'll have to talk\n him onto the approach; and so help me,", "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "Now ease her down! Down!\n \n EXT. RUNWAY - NIGHT\n \n Plane is a few feet from ground.", "flying the plane for that, Joey.\n \n JOEY\n Aw, gee whiz.", "with the controls. Later we'll run through\n the landing procedure.\n \n Kramer takes a last drag on his cigarette and tosses it out", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "ELAINE (v.o.)\n And we're ready to land.\n \n McCROSKEY", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "Back of automatic pilot with Elaine kneeling over its\n crotch.\n \n INT. PASSENGER CABIN - OUTSIDE OF COCKPIT - NIGHT", "level flight, and Elaine and Rumack sigh in relief.\n \n DR. RUMACK\n I'll get back to the passengers.", "Looks like the original flight plan over\n Denver is still the best bet.\n \n Oveur signs charge form and gives it to Texaco Man.", "Ted, the altitude! We're falling, we're\n falling!", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT", "KRAMER (v.o.)\n ...and, Ted, I just want you to know, that\n when the going got tough up there, when" ], [ "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job", "...but my feeling is that when the going\n gets rough upstairs tonight, Ted Striker's\n gonna fold up.", "STRIKER\n No. I've been nervous lots of times. I\n used to be a pilot myself...during the\n war.", "Ted, what does it mean to you? For me, it\n was a living hell. Do you know what it's\n like to fall in the mud and get kicked? In", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "What happened, Ted? What went wrong?\n \n STRIKER\n Oil pressure. I forgot to check the oil", "INT. COCKPIT NIGHT\n \n STRIKER\n (into mike)\n Mayday!", "dejectedly on stewardess' fold-out seat. Rumack approaches.\n \n STRIKER\n I know what you're going to say, so save", "Striker is struggling with steering wheel and sweating.\n \n KRAMER (v.o.)\n Put down thirty degrees of flap!", "KRAMER\n As you know, I flew with this man,\n Striker, during the war. He'll have enough", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "STRIKER\n That's Captain Geline. He thinks he's a\n pilot, still fighting the war.", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT", "DR. RUMACK\n I am serious, and don't call me Shirley!\n What flying experience have you had?", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "Striker is in pilot's seat. Rumack is standing behind him.\n \n STRIKER\n Let's see, altitude twenty-four thousand", "As Striker leaves he puts autopilot into pilot's seat.\n Elaine is on the verge of tears.\n \n DRAMATIC MUSIC.", "You're too low, Ted! You're too low!\n \n Fighter plane CRASHES.", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls." ], [ "Ted, what does it mean to you? For me, it\n was a living hell. Do you know what it's\n like to fall in the mud and get kicked? In", "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "Oh, Ted, please be careful. I worry about\n you so much.\n \n STRIKER\n I love you, Elaine.", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "Ted, the altitude! We're falling, we're\n falling!", "Be patient, Ted. No one expects you to get\n over this immediately.\n \n Striker is despondent.", "It's too late, Ted. When I get back to\n Chicago, I'm going to start my life all\n over again. I'm sorry.", "ELAINE\n Ted, I don't want to stay here. It's time\n for us to go back home -- to the plans we", "...but my feeling is that when the going\n gets rough upstairs tonight, Ted Striker's\n gonna fold up.", "Well, to be honest, I'm very scared. But\n at least I've got a husband.\n \n EXT. AIRPORT - NIGHT", "The Elderly Woman next to him notices.\n \n MRS. ELDERLY\n Nervous?", "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "the head? By an iron boot? Of course you\n don't. No one does. That never happens.\n Sorry, Ted. Dumb question. Strike that.", "waits for her husband to translate the announcement, then\n panics.\n \n INT. KRAMER'S HOUSE", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "ELAINE'S THOUGHTS (v.o.)\n That's sweet of you, Ted. I appreciate the\n thought.", "STRIKER\n Elaine!\n \n ELAINE\n (surprised)\n Ted!", "experience at all. He'll be a menace to\n himself and everything else in the air...\n (he pauses to listen)\n ...Yes, birds too.", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job" ], [ "ELAINE\n This is Elaine Dickinson. I'm the\n stewardess. Captain Oveur is passed out on", "STRIKER\n Can you tell me if Elaine Dickinson is on\n this flight?\n \n She looks at her list.", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "INT. PASSENGER CABIN - ANOTHER AREA - NIGHT\n \n Elaine approaches Mrs. Davis and Lisa.", "DR. RUMACK\n I'll be back in a minute.\n \n Rumack takes Elaine aside.", "Elaine dancing with grizzly looking cutthroat.\n \n STRIKER (v.o.)\n I was captivated, entranced.", "conversation, beckons to Elaine.\n \n MRS. YAFFE\n Stewardess, I think the man next to me is", "Thank you.\n \n As Striker sits down he sees Elaine, who is unaware he is on\n board.", "Elaine's dancing partner is stabbed in the back and falls to\n the grould. No one notices but Striker who eagerly fills in.", "Elaine exits.\n \n SHIRLEY\n OOOOOO.", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "ELAINE\n Captain, one of the women passengers is\n very sick.\n \n INT. COCKPIT - NIGHT", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "Nose dowm.\n \n ELAINE (v.o.)\n (hysterically)", "INT. COCKPIT - NIGHT\n \n Striker enters. Elaine, unaware of his return, is listening" ], [ "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "Striker and Elaine are alone on the runway. Behind them is\n flight 209. They embrace and kiss as CAMERA ARCS around.", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "There's a passenger on your Chicago flight\n two-oh-niner, a little girl named Lisa\n Davis -- en route to Minneapolis. She's", "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "It's too late, Ted. When I get back to\n Chicago, I'm going to start my life all\n over again. I'm sorry.", "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "Looks like the original flight plan over\n Denver is still the best bet.\n \n Oveur signs charge form and gives it to Texaco Man.", "Reads: Flight 209 to Chicago - Depart Gate 89 - 7:25 p.m.\n Arrival monitor is goldfish swimming.", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "Ah...Denver Control, this is Flight two-\n zero-niner continuing on a heading two-\n niner-niner...niner, ah...niner...niner.", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "ELAINE\n Ted, I don't want to stay here. It's time\n for us to go back home -- to the plans we", "Oveur throws console lever into third.\n \n EXT. RUNWAY - NIGHT\n \n Flight 209 takes off, flying erratically.", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "A swarm of police and airport security men descend on Fred\n and take him away.\n \n EXT. AIRPORT - PASSENGER LOADING ZONE - NIGHT", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "All right, he's on final now! Put out all\n runway lights except niner.\n \n EXT. AIRFIELD - NIGHT", "Did you decide on a runway yet?\n \n GUNDERSON\n Runway niner. It's the longest, and", "KRAMER (v.o.)\n ...and, Ted, I just want you to know, that\n when the going got tough up there, when" ], [ "INT. PASSENGER CABIN - NIGHT\n \n Passengers rise slowly, shaken but uninjured. Milton and", "DR. RUMACK\n All right, now we know what we're up\n against. Every passenger on this plane who\n ate fish for dinner will become violently", "INT. PASSENGER CABIN - NIGHT\n \n Absolute pandemonium. Passengers are yelling, screaming,\n tearing their hair out, climbing about.", "INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. Rumack is examining a\n female patient.", "climbing and diving.\n \n INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. A woman, applying", "Passengers are being tossed about. A woman, applying rouge,\n smears it all over her face.", "ELAINE\n Well...\n \n INT. PASSENGER CABIN - NIGHT", "Passengers are listening to P.A.\n \n OVEUR (v.o.)\n It's been a little bumpy up here but we'll", "passengers including the Hammens and SISTER ANGELINA who is\n carrying a guitar.\n \n INT. PASSENGER CABIN - ANOTHER AREA - NIGHT", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "INT. PASSENGER CABIN - ANOTHER AREA - NIGHT\n \n Randy is taking dinner orders from Hari Krishnas.", "OVEUR\n I'll take care of the passengers. Elaine,\n find out what the two sick people had for\n dinner.", "relieved, blows out the match.\n \n INT. PASSENGER CABIN - ANOTHER AREA - NIGHT", "ill within the next half hour.\n \n Oveur looks down at his dinner tray and sees skeleton of the\n fish he just ate.", "INT. COCKPIT - NIGHT\n \n Elaine rings alarm bell.\n \n INT. PASSENGER CABIN - NIGHT", "Passengers are listening to P.A.\n \n ELAINE (v.o.)\n Ladies and gentlemen, this is your", "lights.\n \n Elaine and Rumack exchange glances.\n \n INT. PASSENGER CABIN - NIGHT", "Mrs. Schiff is holding the bottle to her shoulder and\n patting it. It BURPS.\n \n INT. PASSENGER CABIN - NIGHT", "Randy enters cockpit.\n \n RANDY\n We have two more sick people, and the rest\n of the passengers are worried.", "THUNDER and lightning. Flying nose down.\n \n INT. PASSENGER CABIN - NIGHT" ], [ "That's Clarence Oveur...over.\n \n BASTA (v.o.)\n Roger.", "All right. But just remember, my name is\n Roger Murdock.\n \n He points to his nametag.", "Roger.\n \n MURDOCK\n (turning to Oveur)\n Huh?", "confused with someone else. My name is\n Roger Murdock. I'm the co-pilot.\n \n He turns to Basta.", "Clarence Oveur is in the pilot's seat. VICTOR BASTA is\n seated at engineer's console. There is a St. Christopher's\n statue on the dashboard.", "Roger, Denver.\n \n There is a KNOCK on the cockpit door. Elaine and Joey enter.\n \n ELAINE", "OVEUR\n Denver it is.\n \n ROGER MURDOCK enters. He is played by a famous athlete.", "OVEUR\n Victor! Roger, take over!\n \n Oveur lifts Basta onto ground.", "MURDOCK\n I'm an airline pilot.\n (to Oveur)\n Ah, Clarence, according to my", "Elaine! Roger, Roger! I read you. This is\n Steve McCroskey at Chicago Air Control.\n \n ELAINE", "We have clearance, Clarence.\n \n OVEUR\n Roger, Roger. What's our vector, Victor?", "JACK\n Yeah, I think he is.\n (waves)\n Hey, Fred!", "MURDOCK (v.o.)\n Huh?\n \n TOWER (v.o.)\n Roger, over.", "I think you should go back to your seat\n now, Joey. Right, Clarence?\n \n OVEUR", "OVEUR\n (to Murdock)\n Hi, Roger. Good to have you aboard.\n Victor, this is Roger Murdock.", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY", "Sorry to bother you. We were just looking\n for someone with flying experience.\n \n Randy exits. They return to reading their PLAYRAMA magazine", "BASTA (v.o.)\n Thank you, Clarence. Ali McGraw announced\n another spin on the marriage-go-round. And", "clonks people on the back of the head. Randy approaches\n Lisa.\n \n RANDY\n Is it all right if I talk to your" ], [ "OPERATOR (v.o.)\n No, the white phone.\n \n Oveur picks up the white phone.", "We have a visitor.\n \n OVEUR\n Hello.\n \n MURDOCK", "JACK\n Yeah, I think he is.\n (waves)\n Hey, Fred!", "OVEUR (o.s.)\n Groan!\n \n McCROSKEY (v.o.)", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "Oh boy, oh boy, oh boy.\n \n As he starts toward the door, the room caves in on him.", "OVEUR\n Victor! Roger, take over!\n \n Oveur lifts Basta onto ground.", "made before the war.\n \n STRIKER\n A lot of people made plans before the war.\n Like George Zipp.", "That's Lieutennt Hurwitz. Severe shell\n shock. He thinks he's Ethel Merman.\n \n INT. HOSPITAL - DAY", "Randy approaches Hammens. Mr. Hammen is sick.\n \n RANDY\n Yes?", "Oooooooh.\n \n Randy approaches.\n \n RANDY\n Can I get something for you?", "Oveur turns to see Basta slumped over the console.\n \n Dramatic MUSIC.", "Roger.\n \n MURDOCK\n (turning to Oveur)\n Huh?", "It's just that when I start to talk about\n Elaine, I get so carried away -- I lose\n all track of time -- not unlike Oliver in", "ELAINE\n He had fish, too.\n \n Oveur is picking up on the conversation.", "Ettenhenim. But my friends call me\n 'Bubbles.'\n \n INT. PASSENGER CABIN - NIGHT", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY", "We're going to the tower.\n \n McCroskey exits.\n \n HINSHAW", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "to see if Oveur is listening. Oveur is busy checking\n instruments. Murdock grabs Joey by the collar and whispers\n angrily." ], [ "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "flying the plane for that, Joey.\n \n JOEY\n Aw, gee whiz.", "Looks like the original flight plan over\n Denver is still the best bet.\n \n Oveur signs charge form and gives it to Texaco Man.", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "on ­board who knows how to fly a plane?\n \n Absolute pandemonium. Passengers are yelling, screaming,", "He flips a switch. The plane dives.\n \n EXT. AIRPLANE - NIGHT\n \n The plane is diving.", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "Oveur passes out.\n \n ELAINE\n Uh, automatic pilot...automatic pilot?", "Sorry to bother you. We were just looking\n for someone with flying experience.\n \n Randy exits. They return to reading their PLAYRAMA magazine", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "Ted, the altitude! We're falling, we're\n falling!", "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "You're too low, Ted! You're too low!\n \n Fighter plane CRASHES.", "flying. All I know is this: you're the\n only person on this plane who can possibly\n fly it. You're the only chance we've got.", "EXT. RUNWAY - NIGHT\n \n Ground crewman with red flashlights nonchalantly directs\n plane. Suddenly he realizes the plane is not stopping. He", "Ease up, Rex! He hasn't flown for years!\n It's not his fault. It could happen to any\n pilot.", "EXT. AIRPLANE - NIGHT\n \n flying erratically.\n \n INT. COCKPIT - NIGHT", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls." ], [ "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "is heading toward a building. On the side of the building is\n a billboard with a man drinking milk.\n \n INT. COCKPIT - NIGHT", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "EXT. AIRPLANE - NIGHT\n \n Two more ENGINES REV UP.\n \n INT. COCKPIT - NIGHT", "Looks like the original flight plan over\n Denver is still the best bet.\n \n Oveur signs charge form and gives it to Texaco Man.", "He flips a switch. The plane dives.\n \n EXT. AIRPLANE - NIGHT\n \n The plane is diving.", "accelerating plane.\n \n SOLDIER\n Good-bye, darling.\n \n GIRL", "throws his flashlight at the plane and runs off, terrified.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "EXT. AIRPLANE - NIGHT\n \n flying erratically.\n \n INT. COCKPIT - NIGHT", "EXT. AIRPLANE - NIGHT\n \n THUNDER and lightning -- plane levels off.", "Passengers are relieved as plane regains level flight.\n \n EXT. AIRPLANE - THROUGH COCKPIT WINDOW - NIGHT", "Now ease her down! Down!\n \n EXT. RUNWAY - NIGHT\n \n Plane is a few feet from ground.", "People in Gate thirteen move to Gate fourteen.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n skidding.", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "His girlfriend is moving along next to the plane as in\n typical train station good-bye scene.\n \n GIRL", "Elaine screams and covers her face. St. Christopher statue\n covers its face.\n \n EXT. RUNWAY - PLANE - NIGHT", "THUNDER and lightning. Flying nose down.\n \n INT. PASSENGER CABIN - NIGHT", "is screaming.\n \n EXT. RUNWAY - PLANE - NIGHT\n \n is skidding.", "EXT. AIRPLANE - NIGHT\n \n THUNDER and lightning.\n \n INT. PASSENGER CABIN - NIGHT" ], [ "McCROSKEY\n Well, that's the whole story, Rex,\n everything we know.\n \n KRAMER", "KRAMER\n (excited)\n There he is!\n (into microphone)", "HINSHAW\n How about Sal Mineo?\n \n McCROSKEY\n Get me Rex Kramer!", "KRAMER\n As you know, I flew with this man,\n Striker, during the war. He'll have enough", "KRAMER\n (into microphone)\n Civilian equipment, number three.\n \n EXT. AIRFIELD - NIGHT", "KRAMER\n All right. It's obvious you remember me.\n \n The Air Controller is scratching his behind.", "KRAMER\n Let me tell you something, Steve. Striker\n was a top-notch squadron leader -- a long", "JOEY\n Wait a minute. I know you. You're Kareem\n Abdul Jabbar. You play basketball for the", "KRAMER (v.o.)\n Striker, Striker, are you all right?\n \n STRIKER", "KRAMER\n (into microphone)\n You are now eight miles from the airport.\n Turn right to a heading of zero eight", "KRAMER\n Stand by, Striker.\n (to McCroskey)", "INT. TOWER - NIGHT\n \n Kramer and McCroskey are tensely trying to spot plane. Mrs.\n Oveur is watching, prayerfully.", "KRAMER (v.o.)\n Watch your nose! It's too low!\n \n Striker is struggling with wheel. The wheel begins to fight", "drifting in his way. Finally, he throws the autopilot to the\n rear of the cockpit.\n \n KRAMER (v.o.)", "Striker is struggling with steering wheel and sweating.\n \n KRAMER (v.o.)\n Put down thirty degrees of flap!", "Mrs. Oveur clutches Kramer's arm anxiously.\n \n KRAMER\n Aim to touchdown a third of the way along.", "Kramer enters, picks up clipboard, and reads it.\n \n McCROSKEY\n (into phone)", "skids to a stop.\n \n INT. TOWER - NIGHT\n \n Kramer sighs in relief as controllers and Mrs. Oveur dash", "Runway swerving underneath him.\n \n INT. TOWER - NIGHT\n \n KRAMER", "smearin' himself all over the runway.\n \n McCroskey throws cup into wastebasket as Kramer drinks." ], [ "OPERATOR (v.o.)\n No, the white phone.\n \n Oveur picks up the white phone.", "We have a visitor.\n \n OVEUR\n Hello.\n \n MURDOCK", "JACK\n Yeah, I think he is.\n (waves)\n Hey, Fred!", "OVEUR (o.s.)\n Groan!\n \n McCROSKEY (v.o.)", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "Oh boy, oh boy, oh boy.\n \n As he starts toward the door, the room caves in on him.", "OVEUR\n Victor! Roger, take over!\n \n Oveur lifts Basta onto ground.", "made before the war.\n \n STRIKER\n A lot of people made plans before the war.\n Like George Zipp.", "That's Lieutennt Hurwitz. Severe shell\n shock. He thinks he's Ethel Merman.\n \n INT. HOSPITAL - DAY", "Randy approaches Hammens. Mr. Hammen is sick.\n \n RANDY\n Yes?", "Oooooooh.\n \n Randy approaches.\n \n RANDY\n Can I get something for you?", "Oveur turns to see Basta slumped over the console.\n \n Dramatic MUSIC.", "Roger.\n \n MURDOCK\n (turning to Oveur)\n Huh?", "It's just that when I start to talk about\n Elaine, I get so carried away -- I lose\n all track of time -- not unlike Oliver in", "ELAINE\n He had fish, too.\n \n Oveur is picking up on the conversation.", "Ettenhenim. But my friends call me\n 'Bubbles.'\n \n INT. PASSENGER CABIN - NIGHT", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY", "We're going to the tower.\n \n McCroskey exits.\n \n HINSHAW", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "to see if Oveur is listening. Oveur is busy checking\n instruments. Murdock grabs Joey by the collar and whispers\n angrily." ], [ "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job", "...but my feeling is that when the going\n gets rough upstairs tonight, Ted Striker's\n gonna fold up.", "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "Ease up, Rex! He hasn't flown for years!\n It's not his fault. It could happen to any\n pilot.", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "dejectedly on stewardess' fold-out seat. Rumack approaches.\n \n STRIKER\n I know what you're going to say, so save", "You're too low, Ted! You're too low!\n \n Fighter plane CRASHES.", "Striker is struggling with steering wheel and sweating.\n \n KRAMER (v.o.)\n Put down thirty degrees of flap!", "STRIKER\n No. I've been nervous lots of times. I\n used to be a pilot myself...during the\n war.", "As Striker leaves he puts autopilot into pilot's seat.\n Elaine is on the verge of tears.\n \n DRAMATIC MUSIC.", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "Striker, that plane can't land itself! It\n takes a pilot who can handle pressure.\n \n McCROSKEY", "an airplane since the war. And even if I\n could, they wouldn't hire me because of my\n war record.", "What happened, Ted? What went wrong?\n \n STRIKER\n Oil pressure. I forgot to check the oil", "No. Never.\n \n KRAMER\n Shit!\n \n INT. COCKPIT - NIGHT", "KRAMER\n As you know, I flew with this man,\n Striker, during the war. He'll have enough", "But the other two pilots are just fine and\n at the controls flying the plane.\n \n Rumack's nose is a foot long.", "plane in six years.\n \n DR. RUMACK\n Mister Striker. I know nothing about" ], [ "Dr. Rumack pokes his head in the door.\n \n DR. RUMACK\n I just wanted to tell you both good luck.", "Rumack pokes his head in door.\n \n DR. RUMACK\n I just wanted to tell you both good luck.", "DR. RUMACK\n I'll be back in a minute.\n \n Rumack takes Elaine aside.", "Rumack's nose elongates slightly.\n \n DR. RUMACK\n Now, it is true that one of the flight", "Rumack exits.\n \n McCROSKEY (v.o.)\n (over radio)", "Jack leaves; Rumack shakes Mrs. Hammen by the shoulders.\n \n DR. RUMACK\n Calm down. Calm down. Get hold of", "Rumack and Elaine enter. Rumack stoops over to Shirley, and\n surgical instrument is slapped into his hand from o.s. He\n pokes her stomach with his hand.", "DR. RUMACK\n I'm doing everything I can! -- And stop\n calling me Shirley!\n \n Rumack leaves.", "Rumack pours a cup of water. Randy begins to weep.\n \n DR. RUMACK\n Randy, are you all right?", "DR. RUMACK\n What the hell's going on up there?\n \n Rumack starts toward cockpit.", "DR. RUMACK\n The weather in Chicago is clear as a bell,\n and there's no reason that we won't land\n on schedule...", "INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. Rumack is examining a\n female patient.", "your breath.\n \n Rumack sits.\n \n DR. RUMACK", "DR. RUMACK\n Elaine, I haven't time to put this gently,\n so I'll be very direct. Everyone of us on", "dejectedly on stewardess' fold-out seat. Rumack approaches.\n \n STRIKER\n I know what you're going to say, so save", "Rumack picks up bag and exits with Elaine.\n \n INT. PASSENGER CABIN - ANOTHER AREA - NIGHT", "Rumack and Elaine are now standing face-to-face. Oveur, in\n the f.g., is at controls.\n \n DR. RUMACK", "He hangs up phone and turns to Rumack.\n \n OVEUR\n That should do it.", "level flight, and Elaine and Rumack sigh in relief.\n \n DR. RUMACK\n I'll get back to the passengers.", "her mouth and blows. Automatic pilot inflates. Rumack bursts\n into cockpit.\n \n RUMACK'S POV" ], [ "Striker switches off automatic pilot button. Automatic pilot\n shoots upward out of the seat. Elaine is thrown to the\n floor. Striker struggles desperately to control the plane.", "the floor, and we've lost the co-pilot and\n navigator, too. We're in terrible trouble.\n Over.", "INT. COCKPIT - NIGHT\n \n Murdock, unconscious, is slumped over controls. Oveur and", "EXT. AIRPLANE - NIGHT\n \n flying erratically.\n \n INT. COCKPIT - NIGHT", "Back of automatic pilot with Elaine kneeling over its\n crotch.\n \n INT. PASSENGER CABIN - OUTSIDE OF COCKPIT - NIGHT", "Randy drags unconscious pilot, Oveur, down center aisle.\n \n ELAINE (v.o.)\n This is due to periodic air pockets we", "on ­board who knows how to fly a plane?\n \n Absolute pandemonium. Passengers are yelling, screaming,", "Randy enters cockpit.\n \n RANDY\n We have two more sick people, and the rest\n of the passengers are worried.", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "Rumack slams the door in disbelief.\n \n CLOSEUP - AUTOMATIC PILOT", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "Altitude is fluctuating.\n \n INT. COCKPIT - NIGHT\n \n Oveur struggles with controls. They extricate Murdock from", "Oveur passes out.\n \n ELAINE\n Uh, automatic pilot...automatic pilot?", "INT. COCKPIT - NIGHT\n \n Sudden dramatic MUSIC. The cockpit shakes. Engine number\n three is flaming out.", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "INT. AIR POLAND COCKPIT - NIGHT\n \n Crew is Jose Feliciano and look-alike for Ray Charles.", "Elaine rises. The autopilot is on her back, its hands\n clinging to her breasts. She removes it and seats it at\n engineer's console.", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "INT. COCKPIT - NIGHT\n \n Elaine is in the pilot's seat and the inflated automatic\n pilot is in co-pilot's seat.", "is frantically searching for automatic pilot button.\n \n ELAINE\n There it is!" ], [ "Ted Striker was a crack flight leader up\n to a point. But he was one of those men\n who, well, let's just say he felt too much", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "One of the passengers. But he's an\n experienced air force pilot who flew\n during the war so there's no cause for", "walks after Elaine.\n \n INT. COCKPIT - FLIGHT 209 - NIGHT", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "There's a passenger on your Chicago flight\n two-oh-niner, a little girl named Lisa\n Davis -- en route to Minneapolis. She's", "Ted, the altitude! We're falling, we're\n falling!", "Looks like the original flight plan over\n Denver is still the best bet.\n \n Oveur signs charge form and gives it to Texaco Man.", "Elaine and automatic pilot are relaxed in their seats. Both\n are smoking cigarettes.\n \n EXT. AIRPLANE - NIGHT", "Sorry to bother you. We were just looking\n for someone with flying experience.\n \n Randy exits. They return to reading their PLAYRAMA magazine", "Thank you.\n \n As Striker sits down he sees Elaine, who is unaware he is on\n board.", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "is heading toward a building. On the side of the building is\n a billboard with a man drinking milk.\n \n INT. COCKPIT - NIGHT", "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "on ­board who knows how to fly a plane?\n \n Absolute pandemonium. Passengers are yelling, screaming,", "KRAMER\n His name is Ted Striker. I flew with him\n during the war. And that won't make my job", "He hangs up phone.\n \n KRAMER\n One of the passengers is going to land\n that plane.", "Randy enters cockpit.\n \n RANDY\n We have two more sick people, and the rest\n of the passengers are worried.", "flying the plane for that, Joey.\n \n JOEY\n Aw, gee whiz.", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!" ], [ "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "But it won't be. Not as long as you insist\n on living in the past!\n \n Elaine leaves, teary-eyed.", "Oh, Ted, please be careful. I worry about\n you so much.\n \n STRIKER\n I love you, Elaine.", "ELAINE\n Ted, I don't want to stay here. It's time\n for us to go back home -- to the plans we", "ELAINE\n This is Elaine Dickinson. I'm the\n stewardess. Captain Oveur is passed out on", "Nose dowm.\n \n ELAINE (v.o.)\n (hysterically)", "STRIKER\n Elaine!\n \n ELAINE\n (surprised)\n Ted!", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "Elaine exits.\n \n SHIRLEY\n OOOOOO.", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "DR. RUMACK\n I'll be back in a minute.\n \n Rumack takes Elaine aside.", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "Elaine is speaking to couple.\n \n ELAINE\n I'm sorry I had to wake you. I'm just", "It's just that when I start to talk about\n Elaine, I get so carried away -- I lose\n all track of time -- not unlike Oliver in", "will be different...like it was in the\n beginning. Remember?\n \n ELAINE\n I remember everything. All I have are", "Elaine, I've got to talk to you.\n \n ELAINE\n I just don't want to go over it any more.", "Elaine hangs up phone.\n \n ELAINE\n Doctor Rumack says the sick people are\n getting worse and we're running out of", "ELAINE\n But Ted, you're the only...\n \n STRIKER", "Elaine dancing with grizzly looking cutthroat.\n \n STRIKER (v.o.)\n I was captivated, entranced." ], [ "Rumack and Elaine enter. Rumack stoops over to Shirley, and\n surgical instrument is slapped into his hand from o.s. He\n pokes her stomach with his hand.", "Rumack pokes his head in door.\n \n DR. RUMACK\n I just wanted to tell you both good luck.", "Rumack's nose elongates slightly.\n \n DR. RUMACK\n Now, it is true that one of the flight", "DR. RUMACK\n I'll be back in a minute.\n \n Rumack takes Elaine aside.", "Rumack exits.\n \n McCROSKEY (v.o.)\n (over radio)", "Dr. Rumack pokes his head in the door.\n \n DR. RUMACK\n I just wanted to tell you both good luck.", "Rumack pours a cup of water. Randy begins to weep.\n \n DR. RUMACK\n Randy, are you all right?", "DR. RUMACK\n Elaine, I haven't time to put this gently,\n so I'll be very direct. Everyone of us on", "DR. RUMACK\n I'm doing everything I can! -- And stop\n calling me Shirley!\n \n Rumack leaves.", "DR. RUMACK\n Then a dryness in the throat. As the virus\n penetrates the red blood cells the victim\n becomes dizzy and begins to experience a", "crew has been taken ill...slightly ill.\n \n His nose is getting longer.\n \n DR. RUMACK", "your breath.\n \n Rumack sits.\n \n DR. RUMACK", "DR. RUMACK\n May I see your tongue, please?\n \n She sticks her tongue out. Rumack pulls on it until it is", "DR. RUMACK\n What the hell's going on up there?\n \n Rumack starts toward cockpit.", "DR. RUMACK\n Yes, yes, I remember. I had lasagna.\n \n He points to Johnson.", "Jack leaves; Rumack shakes Mrs. Hammen by the shoulders.\n \n DR. RUMACK\n Calm down. Calm down. Get hold of", "Doctor Rumack, Mister Hammen ate fish. And\n Randy says there are five more cases, and\n they ate fish, too.", "DR. RUMACK\n It's a big building with patients. But\n that's not important right now. Tell the\n Captain I must speak to him.", "DR. RUMACK\n The weather in Chicago is clear as a bell,\n and there's no reason that we won't land\n on schedule...", "INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. Rumack is examining a\n female patient." ], [ "Randy leaves. There is a CRASH and Randy screams.\n \n ELAINE\n Ted...", "STRIKER\n Elaine!\n \n ELAINE\n (surprised)\n Ted!", "Oh, Ted, please be careful. I worry about\n you so much.\n \n STRIKER\n I love you, Elaine.", "Elaine enters.\n \n ELAINE\n Ted! What are you doing? You can't fly\n this plane!", "Elaine turns and is shocked to see Striker approaching his\n seat.\n \n ELAINE\n Ted, what are you doing here?", "ELAINE\n Ted, I don't want to stay here. It's time\n for us to go back home -- to the plans we", "Elaine comes back to reality.\n \n EXT. AIRPLANE - NIGHT\n \n In level flight.", "ELAINE'S THOUGHTS (v.o.)\n That's sweet of you, Ted. I appreciate the\n thought.", "But it won't be. Not as long as you insist\n on living in the past!\n \n Elaine leaves, teary-eyed.", "will be different...like it was in the\n beginning. Remember?\n \n ELAINE\n I remember everything. All I have are", "Elaine dancing with grizzly looking cutthroat.\n \n STRIKER (v.o.)\n I was captivated, entranced.", "ELAINE\n But Ted, you're the only...\n \n STRIKER", "Elaine is speaking to couple.\n \n ELAINE\n I'm sorry I had to wake you. I'm just", "INT. PASSENGER CABIN - STEWARDESS ALCOVE - NIGHT\n \n Elaine is on the phone.", "ELAINE\n I love you.\n \n They embrace. Another huge wave washes in and covers them\n completely.", "After the war, I just wanted to get as far\n away from things as possible. So Elaine\n and I joined the Peace Corps. We were", "ELAINE (v.o.)\n (into microphone)\n He knows! He knows!\n \n McCROSKEY", "STRIKER (v.o.)\n I guess it was at that moment that I first\n realized Elaine had doubts about our", "It's just that when I start to talk about\n Elaine, I get so carried away -- I lose\n all track of time -- not unlike Oliver in", "Nose dowm.\n \n ELAINE (v.o.)\n (hysterically)" ], [ "relationship. And that as much as anything\n else led to my drinking problem.\n \n Striker has a problem drinking. He raises his glass of", "He has a moment of indecision. The Indian encourages Striker\n with an adamant nod. Striker gets up to leave. The Indian,", "Striker, walking briskly, is approached by Zealot #3 who\n tries to pin a flower on his jacket. Striker keeps walking", "Striker shows him power grip. When the Chief is pleased,\n Striker gives him five. The Chief pauses then decks Striker.", "Striker is seated at bar in a smoke-filled room. An\n assortment of unsavory characters are hanging around the\n bar.", "She walks off. Dramatic MUSIC as Striker glares with\n determination. The religious Zealot tries to pin a flower on\n his lapel.", "ELAINE\n What's his problem?\n \n STRIKER", "Striker enters, looking around as if searching for someone.\n People are rolling down the conveyor belt of a baggage\n carousel, banging into each other like luggage. The luggage", "INT. PASSENGER CABIN - ANOTHER AREA - NIGHT\n \n Striker is sitting next to a MAN FROM INDIA in a business", "but the Zealot is persistent. Finally, Striker slips out of\n his jacket leaving the Zealot with the coat.", "When Striker and Elaine arrive, the CHIEF holds up his hands\n and the sounds stop.\n \n STRIKER (v.o.)", "BACK TO STRIKER\n \n STRIKER (v.o.)", "KRAMER\n As you know, I flew with this man,\n Striker, during the war. He'll have enough", "Thank you.\n \n As Striker sits down he sees Elaine, who is unaware he is on\n board.", "INT. TERMINAL BULIDING - ANOTHER AREA - NIGHT\n \n Striker catches up to Elaine.", "Striker nailing crude basketball rim and net to tree.\n \n STRIKER (v.o.)\n You must understand that these people had", "...particularly me, who'd like to buy you\n a drink and shake your hand.\n \n Striker and Elaine leave.", "Striker asks the burly LONGSHOREMAN next to him to to pinch\n him. Longshoreman gives him a look and moves away\n cautiously.", "INT. PASSENGER CABIN - NIGHT\n \n Elaine is seated next to Striker.", "INT. COCKPIT - STRIKER - NIGHT\n \n Striker is struggling with controls.\n \n INT. TOWER - NIGHT" ], [ "DR. RUMACK\n All right, now we know what we're up\n against. Every passenger on this plane who\n ate fish for dinner will become violently", "Doctor Rumack, Mister Hammen ate fish. And\n Randy says there are five more cases, and\n they ate fish, too.", "finally the poor bastard is reduced to a\n quivering, wasted piece of jelly.\n \n Oveur passes out and pitches forward onto the controls.", "DR. RUMACK\n Let's see now. The co-pilot had fish. What\n did the navigator eat?", "DR. RUMACK\n What did he have?\n \n ELAINE\n He had fish.", "Rumack's nose elongates slightly.\n \n DR. RUMACK\n Now, it is true that one of the flight", "DR. RUMACK\n That's right.\n \n ELAINE\n We have some passengers who are very sick.", "ELAINE\n Captain, one of the women passengers is\n very sick.\n \n INT. COCKPIT - NIGHT", "crew has been taken ill...slightly ill.\n \n His nose is getting longer.\n \n DR. RUMACK", "OVEUR\n I'll take care of the passengers. Elaine,\n find out what the two sick people had for\n dinner.", "Randy drags unconscious pilot, Oveur, down center aisle.\n \n ELAINE (v.o.)\n This is due to periodic air pockets we", "Randy enters cockpit.\n \n RANDY\n We have two more sick people, and the rest\n of the passengers are worried.", "INT. PASSENGER CABIN - NIGHT\n \n Passengers are being tossed about. Rumack is examining a\n female patient.", "ELAINE\n No.\n \n DR. RUMACK\n All right. Unless I can get all these", "Extremely serious. It starts with a slight\n fever.\n \n Oveur experiences what the doctor is describing.", "Elaine notices it.\n \n ELAINE\n Oh, my God! The automatic pilot! It's\n deflating!", "ill within the next half hour.\n \n Oveur looks down at his dinner tray and sees skeleton of the\n fish he just ate.", "Steve, these reporters won't leave without\n a statement.\n \n REPORTER #1\n How much longer can the sick passengers", "DR. RUMACK\n Yes, yes, I remember. I had lasagna.\n \n He points to Johnson.", "But the other two pilots are just fine and\n at the controls flying the plane.\n \n Rumack's nose is a foot long." ] ]

[ "Why is Ted afraid of flying?", "Who is Elaine Dickinson?", "What profession does Elaine work in now?", "Why does Ted decide to fight his fear of flying?", "Why did so many people on the plane fall ill?", "What does the control tower tell Elaine to do since the pilots can no longer fly?", "What is the one thing that the autopilot can not do?", "Who does Elaine convince to land the plane?", "Who does Ted require a pep talk from in order to land the plane?", "What traumatized Ted Striker?", "What does Ted have a fear of?", "Who is Elaine Dickson?", "Why does Ted get on flight 209?", "What happens to the passengers after they eat dinner?", "Who are Clarence and Roger?", "Who is Otto?", "How does Ted end up flying the plane?", "Where is the plane headed?", "Who is Rex Kramer?", "Who is Otto?", "Why does Ted Striker no longer fly aircraft?", "What happens after Dr Rumack's pep talk with Ted?", "Why are the pilot and co-pilot unable to fly the plane?", "Why is Ted on the flight?", "Why does Elaine Dickinson break up with Ted?", "Who is Dr. Rumrack?", "What inspires Elaine to reunite with Ted?", "With whom does Striker have a hostile relationship?", "What was eaten that was the source of the food poisoning on board the plane?" ]

[ [ "He was a fighter pilot in was", "Ted is afraid of flying beccause of the experience he had in a war." ], [ "Ted's old girlfriend", "A flight attendant." ], [ "flight attendant", "flight attendtant" ], [ "to win back Elaine", "To reconnect with his girlfriend in Chicago." ], [ "food poisoning from the fish ", "They fall ill because of food poisoning from fish dinner." ], [ "turn on the autopilot", "To activate autopilot. " ], [ "Autopilot can not land the plane", "Land the plane." ], [ "Ted Striker", "Striker" ], [ "Rex Kramer, his old commanding officer", "Kramer." ], [ "A experience in the war", "His time in an unnamed war" ], [ "Flying", "Fear of flying" ], [ "Ted's former girlfriend, now a flight attendant", "Ted's wartime girlfriend." ], [ "He hopes to win Elaine back", "Ted hopes to win Elaine back. " ], [ "They contract food poisoning.", "they get sick" ], [ "The pilot and copilot.", "Pilot and co-pilot" ], [ "A large inflatable pilot that can fly but can't land the plane.", "An inflatable pilot doll." ], [ "Clarena and Roger also fall ill with food posioning.", "Dr. Rumack convinces him" ], [ "Chicago", "Chicago. " ], [ "Ted's former commanding officer in the war who helps him land the plane.", "Striker's commanding officer." ], [ "The inflatable doll that appears when the plane's autopilot is activated.", "the inflatable pilot" ], [ "He developed a pathological fear of flying after being traumatized by war.", "He is traumatized. " ], [ "Ted was able to land the plane safely.", "He lands the plane" ], [ "They've become ill from food poisoning.", "food poisoning" ], [ "He's trying to get back together with his former girlfriend, Elaine, who's a stewardess on the flight.", "To try and win his girlfriend, Elaine Dickson back." ], [ "Because he could no longer hold a responsible job due to his fear of flying.", "He is unable to hold a job." ], [ "He is Striker's former commanding officer from during the war.", "Dr Rumrack is a passenger" ], [ "She is inspired by his courage.", "Ted's courage" ], [ "Dr. Rumrack.", "Rex Kramer" ], [ "Fish.", "Fish." ] ]

[ [ "JULIANNE\n\t\t Why would she come here...\n\n\t\t\t\tMICHAEL\n\t\t This is where I proposed.", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t ... all of it. She's leaving her\n\t\t family, her friends, everything she", "JULIANNE\n\t\t\t (to the slip)\n\t\t You're going where?\n\n\tEXT. WALLACE ESTATE - DAY", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Julianne tearing through traffic, desperately struggling to keep\n\tMichael's Cherokee in view, while she shrieks into her cellular...", "The jetway disgorging passengers into the swarming ant colony\n\tcalled O'Hare. Julianne lugging multiple carry-ons, trying to pull", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "JULIANNE\n\t\t Take her there.\n\n\tHe nods, okay.", "JULIANNE\n\t\t Moves. You've never seen.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "JULIANNE (smiles)\n\t\t Sounds like a plan.\n\n\tINT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "INT. TAXI, SOUTH SIDE - DAY\n\n\tCab crawling toward COMISKEY PARK through stifling traffic.\n\tJulianne oblivious, cellular to her ear...", "JULIANNE\n\t\t\t (mumbles to herself)\n\t\t Oh, yeah.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER" ], [ "Michael reaches for Kim's hand, turns her gently to him. Places\n\this ring on her finger. Holds her hands.", "MICHAEL\n\t\t That's what we want. And marriage.\n\t\t Is what we do about it.\n\n\tKimmy smiles at him. With love bigger than life itself.", "She shakes his hand, smiles graciously, but her eyes flick to\n\tMichael, now approaching up the aisle. The girls lead the minister\n\taway. Michael arrives. Looks her up and down.", "... Michael takes his bride's hand, leads her up the stairs, into\n\this arms, as the twins step to the microphone, and guests begin to\n\tapplaud an unscheduled wedding dance...", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "Wow.\n\n\t\t\t\tMICHAEL (V.O.)\n\t\t See. We're getting married.\n\t\t This Sunday.", "Michael. Opening the door for Digger and Julianne. Digger says\n\tsomething, Michael gives him a strong HUG. Julianne raises one", "MICHAEL\n\t\t\t (sighs)\n\t\t Woulda been a nice wedding.\n\n\tOh. That.", "MICHAEL\n\t\t She hasn't told anybody, what\n\t\t am I supposed to do?\n\n\t\t\t\tJULIANNE\n\t\t Get married, apparently.", "MICHAEL (V.O.)\n\t\t Actually, it all starts tomorrow.\n\t\t It's one of those four-day weddings,", "MICHAEL\n\t\t Damn straight, it's how I feel!\n\t\t What's their wedding gift, a little", "And the tears come. They come freely, unhidden, unnoticed. As if\n\tthey were needed.\n\n\tMichael now. Looking at his bride.", "... Michael is racing for the cars. Julianne, sprinting her guts\n\tout, losing ground with every stride. Michael JUMPS into a\n\tCherokee...", "Joe nods, as he hears...\n\n\t\t\t\tMICHAEL (O.S.)\n\t\t Marriage is a lot to put up\n\t\t with.", "Tears in his eyes now. First time.\n\n\t\t\t\tMICHAEL\n\t\t The real romance is saying yes.\n\n\tDoes she know that now? He looks at his watch.", "MICHAEL\n\t\t I'll call George's parents.\n\t\t Tell them I need a best man who\n\t\t actually looks after me.\n\n\tJulianne comes over.", "And with that the band begins. The opening phrases of a song we\n\thave come to know. Michael seems overwhelmed. Julianne nods\n\ttoward the gazebo...", "... Michael is beaming, admiringly. He stands up.", "MICHAEL\n\t\t Tell her. I'll marry her at six\n\t\t o'clock, if she'll still have me.", "She looks over now. And Michael is looking back. Smiling the most\n\twonderful smile. Her reaction shows that she thinks it's for her,\n\tuntil..." ], [ "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "MICHAEL\n\t\t I'll call George's parents.\n\t\t Tell them I need a best man who\n\t\t actually looks after me.\n\n\tJulianne comes over.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t He said. Marry me.", "JULIANNE\n\t\t No, no, the opposite. That's\n\t\t my best friend, Michael O'Neal.\n\t\t He sounds desperate to talk.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "MICHAEL\n\t\t She hasn't told anybody, what\n\t\t am I supposed to do?\n\n\t\t\t\tJULIANNE\n\t\t Get married, apparently.", "JULIANNE\n\t\t And at my wedding. I'll be the\n\t\t only bride with her own best man.\n\n\tAnd she kisses his cheek.", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "JULIANNE\n\t\t Yeah. Do you?\n\n\t\t\t\tGUY\n\t\t I asked first.", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "JULIANNE\n\t\t\t (whispers)\n\t\t Is anybody watching?", "And she's there. At his side. She glances back to her maid of\n\thonor, just to make sure she's not working without a net. So\n\tJulianne...", "Julianne thinks back.\n\n\t\t\t\tJULIANNE\n\t\t Friction. No.\n\n\tHe smiles at her line reading. But his mind is always probing.", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "MICHAEL\n\t\t I tried those on. When you\n\t\t weren't looking.\n\n\tNow he's grinning at Julianne. And she likes that a lot.", "JULIANNE\n\t\t\t (whispers)\n\t\t He's going to take...\n\t\t\t (big grin)\n\t\t The job!", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "JULIANNE\n\t\t No. Because I won't let you.\n\n\tINT. WALLACE ENTERPRISES - DAY" ], [ "And with that the band begins. The opening phrases of a song we\n\thave come to know. Michael seems overwhelmed. Julianne nods\n\ttoward the gazebo...", "MICHAEL\n\t\t\t (singing)\n\t\t Someday. When I'm awfully low...\n\n\tThey sit. He looks from Julianne to his bride.", "sport. Julianne watches Michael's body for a beat, then...", "JULIANNE\n\t\t We danced to it. Just like this.\n\n\tJust like this. A long beat. And he has to say...", "MICHAEL\n\t\t I tried those on. When you\n\t\t weren't looking.\n\n\tNow he's grinning at Julianne. And she likes that a lot.", "JULIANNE\n\t\t Come in, and shut the...\n\n\tStops. Because it's Michael who has entered. With the dress.", "... Michael takes his bride's hand, leads her up the stairs, into\n\this arms, as the twins step to the microphone, and guests begin to\n\tapplaud an unscheduled wedding dance...", "Michael. Opening the door for Digger and Julianne. Digger says\n\tsomething, Michael gives him a strong HUG. Julianne raises one", "And then, she does. She puts her hands flat on his chest. Looks\n\tin his eyes.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I love you.", "MICHAEL (laughing)\n\t\t Should I turn around, or someth...\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm in my underwear!", "JULIANNE\n\t\t Why is the dance floor by the\n\t\t gazebo?\n\n\tShe takes his hand. They walk toward it.", "... Julianne grinning. Michael's arm around her. On the deck of a\n\tboat. They have drinks in their hands. Happiness in their eyes.", "Julianne watching. As Michael does.\n\n\tEXT. WALLACE POND - NIGHT", "... Michael is racing for the cars. Julianne, sprinting her guts\n\tout, losing ground with every stride. Michael JUMPS into a\n\tCherokee...", "MICHAEL\n\t\t Kimmy and I. We don't have a song.\n\t\t Is that a bad sign?\n\n\tAll Julianne can do is shrug. Then...", "MICHAEL\n\t\t Lower.\n\n\t\t\t\tJULIANNE\n\t\t\t (agreeing)\n\t\t Lower.", "JULIANNE\n\t\t\t (turning to him)\n\t\t Michael? What ha...", "Michael stands outside the court, clutching the chain link like a\n\tprisoner, as Julianne comes through the gate. From somewhere, we", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "MICHAEL\n\t\t Okay, kid. You're on.\n\n\tKim's eyes flick to Julianne, who nods, supportively. The kid\n\ttakes a breath." ], [ "On that basis. They leave. Kimmy sits on a stack of packaged\n\tfrozen fowl parts. Stares up with big, sweet, wet eyes.", "As grown men and women SCREAM in spontaneous terror below, Kimmy\n\tbegins to...\n\n\t... LAUGH. And KISS and hug her new sister. And holds her tight.", "Kimmy's lip trembles. This is not how she thought of her wedding.\n\tThe din is so horrific, Kimmy leads them into a walk-in meat", "And leans close. As Kimmy flinches.", "... KIMMY, halfway up the path. Her hands across her mouth, as if\n\tto stem the horror that pours forth as she SHRIEKS from her soul,\n\tand...", "A stunned pole-axed moment. And Kimmy's eyes SPRING open. You\n\tmean...?", "Begins BANGING random buttons, out of control. Kimmy watching\n\tthis. Julianne looks WILDLY up...", "Everything inside Kimmy BURSTS free in a torrent of tears...\n\n\t\t\t\tKIMMY\n\t\t HE LOVES ME!!", "JULIANNE\n\t\t Pitiful.\n\n\tAnd pulls herself up to her knees. Kimmy tries to glare, but it\n\tjust isn't in her.", "KIMMY\n\t\t\t (O.S., sobbing)\n\t\t In here, you bitch!", "Kimmy, staring from halfway there, has an insurmountable lead.\n\tLEAPS into her convertible and PEELS OUT, just TEARING up the", "The organ's noddling stops. Kimmy's eyes alerted, like a small\n\tanimal bearing a predator approach her thicket. Suddenly, the", "At the elevator. Kimmy SLAMS the button.", "Her look is every bit as hard as his. He gestures to the\n\tescalator. She takes Kimmy's hand, and up they go. We can see", "Takes a heavy platform and begins BANGING the metal door with all\n\ther strength, sending resounding BOOMS throughout the area, as\n\tKimmy reaches and...", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "A wrenching cry from her heart. It stops him cold. And before\n\tJulianne's astonished eyes, Kimmy reaches out a trembling hand...", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "... the face of the bride. Now we understand the word radiant. We\n\talso understand scared senseless. Our perfect, unflappable Kimmy", "... Kimmy does. On her father's arm, she walks the gauntlet of the\n\tworld's intrusive admiration. One step at a time. The most beautiful" ], [ "Kimmy's lip trembles. This is not how she thought of her wedding.\n\tThe din is so horrific, Kimmy leads them into a walk-in meat", "On that basis. They leave. Kimmy sits on a stack of packaged\n\tfrozen fowl parts. Stares up with big, sweet, wet eyes.", "As grown men and women SCREAM in spontaneous terror below, Kimmy\n\tbegins to...\n\n\t... LAUGH. And KISS and hug her new sister. And holds her tight.", "And leans close. As Kimmy flinches.", "Kimmy, staring from halfway there, has an insurmountable lead.\n\tLEAPS into her convertible and PEELS OUT, just TEARING up the", "... KIMMY, halfway up the path. Her hands across her mouth, as if\n\tto stem the horror that pours forth as she SHRIEKS from her soul,\n\tand...", "At the elevator. Kimmy SLAMS the button.", "KIMMY\n\t\t\t (O.S., sobbing)\n\t\t In here, you bitch!", "The organ's noddling stops. Kimmy's eyes alerted, like a small\n\tanimal bearing a predator approach her thicket. Suddenly, the", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "INT. KIMMY'S CONVERTIBLE - DAY", "Takes a heavy platform and begins BANGING the metal door with all\n\ther strength, sending resounding BOOMS throughout the area, as\n\tKimmy reaches and...", "Her look is every bit as hard as his. He gestures to the\n\tescalator. She takes Kimmy's hand, and up they go. We can see", "... the face of the bride. Now we understand the word radiant. We\n\talso understand scared senseless. Our perfect, unflappable Kimmy", "Everything inside Kimmy BURSTS free in a torrent of tears...\n\n\t\t\t\tKIMMY\n\t\t HE LOVES ME!!", "Kimmy bites her lip. Her eyes go down. Self-conscious to admit...", "JULIANNE\n\t\t Pitiful.\n\n\tAnd pulls herself up to her knees. Kimmy tries to glare, but it\n\tjust isn't in her.", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart...", "KIMMY (softly)\n\t\t Bingo.\n\n\tThey smile at each other. More bonded than ever.", "... Kimmy does. On her father's arm, she walks the gauntlet of the\n\tworld's intrusive admiration. One step at a time. The most beautiful" ], [ "JULIANNE\n\t\t Michael!!\n\n\t\t\t\tKIMMY\n\t\t\t (near tears)\n\t\t I am honest!\n\n\tSilence.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "Michael putting Kim in the back of a cab. As Julianne watches.\n\n\t\t\t\tMICHAEL\n\t\t Because I could come...", "And then, she does. She puts her hands flat on his chest. Looks\n\tin his eyes.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I love you.", "JULIANNE\n\t\t Well, of course, he loves\n\t\t you.\n\n\tKisses the top of Kimmy's head.", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart...", "MICHAEL\n\t\t I tried those on. When you\n\t\t weren't looking.\n\n\tNow he's grinning at Julianne. And she likes that a lot.", "MICHAEL\n\t\t Okay, kid. You're on.\n\n\tKim's eyes flick to Julianne, who nods, supportively. The kid\n\ttakes a breath.", "MICHAEL\n\t\t Kimmy says. When you love someone.\n\t\t You say it, you say it out loud.\n\t\t Right now. Or the moment...\n\n\tLong beat.", "Kim smiles. He kisses her, tenderly, through the open window. She\n\twaves past him at Julianne.\n\n\t\t\t\tKIMMY (to both)\n\t\t Enjoy each other.", "Michael. Opening the door for Digger and Julianne. Digger says\n\tsomething, Michael gives him a strong HUG. Julianne raises one", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "MICHAEL\n\t\t\t (singing)\n\t\t Someday. When I'm awfully low...\n\n\tThey sit. He looks from Julianne to his bride.", "... THROWS her arms around the startled visitor. HOLDS her tight,\n\twith such genuine warmth that Julianne can only, slowly, hug back.\n\tAs Michael beams.", "KIMMY\n\t\t ... so right. And I am so very\n\t\t wrong.\n\n\tMichael blinks. Julianne blinks. For different reasons.", "JULIANNE\n\t\t You miss her, huh?\n\n\t\t\t\tMICHAEL\n\t\t No. I've got you.", "MICHAEL (laughing)\n\t\t Should I turn around, or someth...\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm in my underwear!", "MICHAEL\n\t\t Kimmy and I. We don't have a song.\n\t\t Is that a bad sign?\n\n\tAll Julianne can do is shrug. Then...", "sport. Julianne watches Michael's body for a beat, then...", "MICHAEL\n\t\t That's what we want. And marriage.\n\t\t Is what we do about it.\n\n\tKimmy smiles at him. With love bigger than life itself." ], [ "... Michael takes his bride's hand, leads her up the stairs, into\n\this arms, as the twins step to the microphone, and guests begin to\n\tapplaud an unscheduled wedding dance...", "... LIFTS her up in his arms. Into the deepest, most heartfelt\n\tKISS. And as she clings to him, people begins to APPLAUD, and\n\twhistle, and laugh.", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "... a matching ring. Take it! Gives it to her. So Julianne steps\n\tforward. Places the second ring into Kimmy's waiting hand. Their\n\teyes meet, and hold throughout...", "MICHAEL\n\t\t That's what we want. And marriage.\n\t\t Is what we do about it.\n\n\tKimmy smiles at him. With love bigger than life itself.", "She swallows. Smiles a fleeting, beautiful smile. Fumbles\n\tslightly, putting the ring on his finger.", "Michael reaches for Kim's hand, turns her gently to him. Places\n\this ring on her finger. Holds her hands.", "She shakes his hand, smiles graciously, but her eyes flick to\n\tMichael, now approaching up the aisle. The girls lead the minister\n\taway. Michael arrives. Looks her up and down.", "His smile returns. Just a little.\n\n\t\t\t\t WALTER\n\t\t Matter of fact, that's how I got\n\t\t married.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "End of story. Okay?\n\n\t\t\t\tJULIANNE\n\t\t I'm just saying he's lucky.\n\n\tAn empty elevator arrives. They get in.", "As she hangs up. She still has that look in her eye. Digger has\n\tnever seen that, and he likes it very much.", "And the happy couple look at each other. They are awkward.\n\tJulianne's heart soar like eagle.", "Kim smiles. He kisses her, tenderly, through the open window. She\n\twaves past him at Julianne.\n\n\t\t\t\tKIMMY (to both)\n\t\t Enjoy each other.", "He holds up his arms. And she moves into them. He begins to dance\n\twith her, turning so slowly. And, yes, people are watching.", "So he does. She flushes and SNATCHES up her own clothes, which\n\twere characteristically tangled in a heap, and tries desperately to", "A surprise. A pleasant one. The crowd adjust in its seats. As\n\tMichael begins...\n\n\t\t\t\tMICHAEL\n\t\t Why do people get married\n\t\t anymore?", "Tears in his eyes now. First time.\n\n\t\t\t\tMICHAEL\n\t\t The real romance is saying yes.\n\n\tDoes she know that now? He looks at his watch.", "They go way back. He is uncomfortable at this rich man's wedding,\n\teven as gracious as everyone has been. His watering eyes twinkle\n\tat her, and the voice has a trace of Boston...", "MINISTER (O.S.)\n\t\t I pronounce them husband and wife.\n\t\t Those whom God has joined together,\n\t\t let no one put asunder." ], [ "And then, he's THERE. He has Julianne in his arms. Holding her\n\tso tight. An embrace so wonderful, so terrible, she could go mad", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "JULIANNE\n\t\t Why is the dance floor by the\n\t\t gazebo?\n\n\tShe takes his hand. They walk toward it.", "Up the white steps now. Together. The gazebo floor has been\n\tcovered with hardwood. The perfect place. For a wedding dance.\n\tAnd Julianne...", "JULIANNE\n\t\t Best everything, Joe. But I'm\n\t\t going to dance with you.", "JULIANNE\n\t\t And at my wedding. I'll be the\n\t\t only bride with her own best man.\n\n\tAnd she kisses his cheek.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "JULIANNE\n\t\t You, too.\n\n\tAnd with the last of her strength...", "JULIANNE\n\t\t Moves. You've never seen.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "And with that the band begins. The opening phrases of a song we\n\thave come to know. Michael seems overwhelmed. Julianne nods\n\ttoward the gazebo...", "JULIANNE\n\t\t We danced to it. Just like this.\n\n\tJust like this. A long beat. And he has to say...", "End of story. Okay?\n\n\t\t\t\tJULIANNE\n\t\t I'm just saying he's lucky.\n\n\tAn empty elevator arrives. They get in.", "Isabelle has risen from the main table, and comes to her. All\n\tsmiles. Julianne is in the Twilight Zone. What are these people\n\tlaughing about? Do they still think there's a wedding?", "Oh. Scattered laughter. Julianne moves down the line. Stares at\n\tthe door. We hear the soft, muted crying from within. Slowly,\n\tJulianne...", "into his ear. He looks at her. Then turns his station over to a\n\tclub steward, and follows Julianne down toward the lakeside.", "JULIANNE (lost in his eyes)\n\t\t Not hardly.\n\n\tHe beams. Turns. She follows his gaze, and...", "And the happy couple look at each other. They are awkward.\n\tJulianne's heart soar like eagle." ], [ "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t Moves. You've never seen.", "Julianne. In her pretty dress. Closes her eyes.\n\n\tINT.JULIANNE'S HOTEL ROOM - NIGHT", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "JULIANNE\n\t\t\t (murmurs)\n\t\t Shoeless... Joe.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "JULIANNE\n\t\t\t (whispers)\n\t\t Is anybody watching?", "... Julianne stands on a platform. A seamstress fitting her into a\n\tsleek pale daffodil-colored gown. There are pins everywhere, as", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "JULIANNE\n\t\t\t (mumbles to herself)\n\t\t Oh, yeah.", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "JULIANNE\n\t\t ISN'T THERE A GUARD? A JANITOR?", "JULIANNE\n\t\t\t (thrusts out her hand)\n\t\t I'm Julianne Potter, and...", "JULIANNE\n\t\t No. Because I won't let you.\n\n\tINT. WALLACE ENTERPRISES - DAY", "Julianne has cleaned up pretty good. She sits with Digger on a\n\tfashion-fabric sofa. They are side-by-side, studying something\n\twith equal concentration. And slight concern.", "JULIANNE\n\t\t\t (softly)\n\t\t They'd say that's my job.", "JULIANNE\n\t\t God! Then the door is jammed!" ], [ "As she hangs up. She still has that look in her eye. Digger has\n\tnever seen that, and he likes it very much.", "JULIANNE\n\t\t Only. If he wants to.\n\n\tThey share a smile.", "... a small clubby room. Books, leather, polished woods. Only\n\ttwo people here. Walter, looking on stony-faced, as a determined", "Oh, yeah? Yes, ma'am. As she loses herself in his eyes...\n\n\t\t\t\tMICHAEL\n\t\t I got the ring.", "JULIANNE\n\t\t No, no, the opposite. That's\n\t\t my best friend, Michael O'Neal.\n\t\t He sounds desperate to talk.", "He holds up one finger. Almost touching her nose.\n\n\t\t\t\tDIGGER\n\t\t This is what you've come to do.\n\t\t Now do it.", "Digger sees the guy listening, gestures to her with his eyes. So\n\tshe looks up.\n\n\t\t\t\tJULIANNE\n\t\t Could you give us a minute?", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Everything gets real quiet. Mandy takes charge. She rolls down\n\tJulianne's left sleeve, RIPS the hem out of the cuff, so that it", "He hands it toward her. She takes it, hesitantly, and he walks past.\n\tToward the phone.", "A hush. SHARP applause. From four hundred hands. But not from\n\this. He is too moved. Too understanding of what he has heard.", "... a matching ring. Take it! Gives it to her. So Julianne steps\n\tforward. Places the second ring into Kimmy's waiting hand. Their\n\teyes meet, and hold throughout...", "He stops. Her eyes WIDEN in a burlesque of anticipation. So he\n\tsmiles. She knows how to put him at ease.", "He slides his arm around her shoulder. Pals. They climb out of\n\tframe.\n\n\tINT. HOTEL BATHROOM - LATE NIGHT", "His master's voice. He gives Julianne a smile. And goes. She's\n\tleft with the box.\n\n\tGazes at the ring. Lifts it out.", "MICHAEL\n\t\t We are fools in this. Thank\n\t\t God Almighty.\n\n\tHe is done. There is a silence.", "She shakes his hand, smiles graciously, but her eyes flick to\n\tMichael, now approaching up the aisle. The girls lead the minister\n\taway. Michael arrives. Looks her up and down.", "And crouches down. Close beside her. The cigarette drops from her\n\thand, unnoticed on the carpet. So he lifts it, crushes it on the\n\theel of his shoe.", "A nod between equals. She moves on...\n\n\t\t\t\tMICHAEL\n\t\t And, this guy, you know...", "FLINGING both her hands across his mouth. A frozen beat. He nods,\n\tokay. Cautiously, she takes her hands away. At least she has made" ], [ "JULIANNE\n\t\t Why would she come here...\n\n\t\t\t\tMICHAEL\n\t\t This is where I proposed.", "JULIANNE\n\t\t ... all of it. She's leaving her\n\t\t family, her friends, everything she", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t\t (to the slip)\n\t\t You're going where?\n\n\tEXT. WALLACE ESTATE - DAY", "Julianne tearing through traffic, desperately struggling to keep\n\tMichael's Cherokee in view, while she shrieks into her cellular...", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "JULIANNE\n\t\t Moves. You've never seen.", "The jetway disgorging passengers into the swarming ant colony\n\tcalled O'Hare. Julianne lugging multiple carry-ons, trying to pull", "JULIANNE\n\t\t Take her there.\n\n\tHe nods, okay.", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "JULIANNE (smiles)\n\t\t Sounds like a plan.\n\n\tINT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "JULIANNE\n\t\t\t (mumbles to herself)\n\t\t Oh, yeah.", "INT. TAXI, SOUTH SIDE - DAY\n\n\tCab crawling toward COMISKEY PARK through stifling traffic.\n\tJulianne oblivious, cellular to her ear...", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER" ], [ "And she's there. At his side. She glances back to her maid of\n\thonor, just to make sure she's not working without a net. So\n\tJulianne...", "... the face of the woman who placed it there. Julianne's eyes,\n\tappraising this bride we cannot see. And so softly...", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "MICHAEL\n\t\t She hasn't told anybody, what\n\t\t am I supposed to do?\n\n\t\t\t\tJULIANNE\n\t\t Get married, apparently.", "... Julianne stands on a platform. A seamstress fitting her into a\n\tsleek pale daffodil-colored gown. There are pins everywhere, as", "JULIANNE\n\t\t And at my wedding. I'll be the\n\t\t only bride with her own best man.\n\n\tAnd she kisses his cheek.", "Then. Silence. Julianne looking up helplessly, a trussed hog,\n\tbound in her dress.", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "JULIANNE\n\t\t Because I realized. When I see\n\t\t him say \"I do,\" that knife will\n\t\t be in my heart. And it will be\n\t\t there every...", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "Julianne. In her pretty dress. Closes her eyes.\n\n\tINT.JULIANNE'S HOTEL ROOM - NIGHT", "Everything gets real quiet. Mandy takes charge. She rolls down\n\tJulianne's left sleeve, RIPS the hem out of the cuff, so that it", "Isabelle has risen from the main table, and comes to her. All\n\tsmiles. Julianne is in the Twilight Zone. What are these people\n\tlaughing about? Do they still think there's a wedding?", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t I have to make a confession.\n\t\t Another confession. Besides\n\t\t that I love you. This is even\n\t\t worse.", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "JULIANNE\n\t\t Then it could all come out, sooner\n\t\t or later. Nobody should be in on\n\t\t this. Just you and me. Or, more\n\t\t correctly, I.", "It is amazing. Soulful vengeful sluts. He is enthralled. Julianne\n\tsimply impatient. She wants his attention.", "Pointing. THERE she is, obscured by a cluster of the appropriately\n\tfawning. She has the same hunted eyes and false, slightly manic\n\tsmile Julianne wore yesterday. This, at least, makes sense." ], [ "JULIANNE\n\t\t\t (reading)\n\t\t I received the following E-mail", "She takes the paper back.\n\n\t\t\t\tJULIANNE\n\t\t What if, what if I could find\n\t\t that E-mail?", "JULIANNE\n\t\t We could use... his computer, to...\n\t\t just E-mail those suckers right ou...", "JULIANNE\n\t\t\t (mumbling to herself)\n\t\t E-mail address. To Ben Isaacson,\n\t\t Senior Editor, Sports Illustrated,\n\t\t from... Walter Wallace.", "This. He's waiting to hear.\n\n\t\t\t\tJULIANNE\n\t\t The E-mail? You thought Walter\n\t\t sent your boss? I wrote that.", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "Julianne grimly \"struggles\" to \"find\" what she's looking for in\n\tMichael's laptop. And then...", "JULIANNE\n\t\t\t (stricken with remorse)\n\t\t ... wrote it, yeah. I'm the\n\t\t bad guy.", "JULIANNE\n\t\t \"Mike. We still have no answer to\n\t\t our E-mail of Wednesday. Which", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "JULIANNE\n\t\t I didn't know it would get\n\t\t sent. I just wanted you to...\n\t\t get mad at Kimmy... and...", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "for five. DEIDRE, his personal secretary, clicking every word into\n\ther laptop at warp speed. Walter sees Julianne through the glass.", "JULIANNE\n\t\t Are you crazy? Get him fired?\n\n\tTypes NO. The computer asks HOLD FOR LATER? And she types YES.", "Julianne nods. Maybe that part is right. Maybe it would have\n\tended anyway. Maybe she can pretend she's not a monster.", "MICHAEL\n\t\t She denied it. Said I was crazy\n\t\t and paranoid.\n\n\t\t\t\tJULIANNE\n\t\t A bad combination.", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "MICHAEL\n\t\t She would never. Never. Even think\n\t\t of that.\n\n\tPaydirt. Julianne's Geiger Counter is going berserk.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage." ], [ "MICHAEL\n\t\t Kimmy says. When you love someone.\n\t\t You say it, you say it out loud.\n\t\t Right now. Or the moment...\n\n\tLong beat.", "MICHAEL\n\t\t That's what we want. And marriage.\n\t\t Is what we do about it.\n\n\tKimmy smiles at him. With love bigger than life itself.", "Michael waits. Also in a zone of pseudo-consciousness. From which\n\the attempts a smile. Not comforting. Kim's POV WHIP PAN the", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "ISABELLE\n\t\t So Michael stays put in the garden.\n\t\t Kimmy stays in here...", "... an ARGUMENT outside the door. Strains to listen. It does sound\n\tlike Michael and Kim. We can't make out the words. She jumps up,", "MICHAEL\n\t\t To him.\n\n\tShe swallows. Straightens her spine.\n\n\t\t\t\tKIMMY\n\t\t And to m...", "MICHAEL\n\t\t Okay, kid. You're on.\n\n\tKim's eyes flick to Julianne, who nods, supportively. The kid\n\ttakes a breath.", "KIMMY\n\t\t Michael, you are so...\n\n\tChoking back the sobs.", "JULIANNE\n\t\t Michael!!\n\n\t\t\t\tKIMMY\n\t\t\t (near tears)\n\t\t I am honest!\n\n\tSilence.", "KIMMY\n\t\t Michael. A job like that.\n\n\tOh, well...", "KIMMY\n\t\t Michael. I promise to love and\n\t\t respect and comfort you. To\n\t\t hear your voice and your heart.\n\t\t Until we are parted by death.", "Michael reaches for Kim's hand, turns her gently to him. Places\n\this ring on her finger. Holds her hands.", "MICHAEL\n\t\t It's not just a gag, huh?\n\n\t\t\t\tKIMMY\n\t\t No, it's, uh... a real big favor.", "KIMMY\n\t\t He needs someone incredible,\n\t\t someone really close, who he\n\t\t can trust...\n\n\t\t\t\tMICHAEL\n\t\t Like family, huh?", "Kim smiles. He kisses her, tenderly, through the open window. She\n\twaves past him at Julianne.\n\n\t\t\t\tKIMMY (to both)\n\t\t Enjoy each other.", "KIMMY\n\t\t MICHAEL!!", "MICHAEL\n\t\t I'm sure glad I'm hearing all\n\t\t this now, before it's too late!\n\n\t\t\t\tKIMMY\n\t\t What is that sup...", "Shouts of support, a few whistles. Silence. She tells Michael...", "KIMMY\n\t\t ... so right. And I am so very\n\t\t wrong.\n\n\tMichael blinks. Julianne blinks. For different reasons." ], [ "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER", "And the defenses drain from her clay-ravaged features. The real\n\tJulianne is glimpsed.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Julianne. In her pretty dress. Closes her eyes.\n\n\tINT.JULIANNE'S HOTEL ROOM - NIGHT", "Julianne watching. As Michael does.\n\n\tEXT. WALLACE POND - NIGHT", "Oh. Scattered laughter. Julianne moves down the line. Stares at\n\tthe door. We hear the soft, muted crying from within. Slowly,\n\tJulianne...", "stress' eyes FLASH OPEN in abject horror. Julianne, a deer in\n\theadlights, looks quickly around at the evidence of her screw-up in\n\tsix different mirrors.", "... Julianne, trapped in the crush, loses sight of the couple,\n\tstruggles against the flow, suddenly panicked by the certainty\n\tthat she will never see him before...", "Then. Silence. Julianne looking up helplessly, a trussed hog,\n\tbound in her dress.", "INT. DRESSING ROOM - LATER\n\n\tJulianne sits on the loveseat in her bra and panties, lighting one\n\tcigarette from the butt of another. Suddenly, she hears...", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "Pointing. THERE she is, obscured by a cluster of the appropriately\n\tfawning. She has the same hunted eyes and false, slightly manic\n\tsmile Julianne wore yesterday. This, at least, makes sense.", "Isabelle has risen from the main table, and comes to her. All\n\tsmiles. Julianne is in the Twilight Zone. What are these people\n\tlaughing about? Do they still think there's a wedding?", "... Julianne, still in her suit, hiding by a table piled with a\n\tcarload of grapes. Her left hand still buried in her pocket. The\n\teyes of a hunted animal. From nowhere...", "And then, he's THERE. He has Julianne in his arms. Holding her\n\tso tight. An embrace so wonderful, so terrible, she could go mad", "It is amazing. Soulful vengeful sluts. He is enthralled. Julianne\n\tsimply impatient. She wants his attention.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage." ], [ "As grown men and women SCREAM in spontaneous terror below, Kimmy\n\tbegins to...\n\n\t... LAUGH. And KISS and hug her new sister. And holds her tight.", "Kimmy's lip trembles. This is not how she thought of her wedding.\n\tThe din is so horrific, Kimmy leads them into a walk-in meat", "Her look is every bit as hard as his. He gestures to the\n\tescalator. She takes Kimmy's hand, and up they go. We can see", "Takes a heavy platform and begins BANGING the metal door with all\n\ther strength, sending resounding BOOMS throughout the area, as\n\tKimmy reaches and...", "At the elevator. Kimmy SLAMS the button.", "KIMMY (softly)\n\t\t Bingo.\n\n\tThey smile at each other. More bonded than ever.", "And leans close. As Kimmy flinches.", "On that basis. They leave. Kimmy sits on a stack of packaged\n\tfrozen fowl parts. Stares up with big, sweet, wet eyes.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "INT. KIMMY'S CONVERTIBLE - DAY", "JULIANNE\n\t\t Pitiful.\n\n\tAnd pulls herself up to her knees. Kimmy tries to glare, but it\n\tjust isn't in her.", "... KIMMY, halfway up the path. Her hands across her mouth, as if\n\tto stem the horror that pours forth as she SHRIEKS from her soul,\n\tand...", "KIMMY\n\t\t\t (O.S., sobbing)\n\t\t In here, you bitch!", "... Kimmy does. On her father's arm, she walks the gauntlet of the\n\tworld's intrusive admiration. One step at a time. The most beautiful", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart...", "Kimmy, staring from halfway there, has an insurmountable lead.\n\tLEAPS into her convertible and PEELS OUT, just TEARING up the", "A stunned pole-axed moment. And Kimmy's eyes SPRING open. You\n\tmean...?", "Everything inside Kimmy BURSTS free in a torrent of tears...\n\n\t\t\t\tKIMMY\n\t\t HE LOVES ME!!", "The organ's noddling stops. Kimmy's eyes alerted, like a small\n\tanimal bearing a predator approach her thicket. Suddenly, the", "Pins start to come out. Kimmy points, these, too!" ], [ "KIMMY (mutters to Julianne)\n\t\t That would be us.", "KIMMY\n\t\t\t (whispers)\n\t\t So. What did he say?\n\n\tJulianne's eyes move over the young girl's face.", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "JULIANNE\n\t\t Uh, Kimmy...?", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart...", "Kim smiles. He kisses her, tenderly, through the open window. She\n\twaves past him at Julianne.\n\n\t\t\t\tKIMMY (to both)\n\t\t Enjoy each other.", "JULIANNE\n\t\t Pitiful.\n\n\tAnd pulls herself up to her knees. Kimmy tries to glare, but it\n\tjust isn't in her.", "KIMMY\n\t\t The very words I've used.\n\n\tJulianne 'thinks it over.' Kimmy waits for guidance.", "KIMMY\n\t\t This just makes everything so\n\t\t perfect.\n\n\tHer arms stay around the slightly dazed Julianne. The younger\n\tgirl leans close, confides...", "KIMMY\n\t\t ... that this is all my fault?\n\n\tStops Julianne cold. Your fault.", "JULIANNE\n\t\t No.\n\n\t\t\t\tKIMMY\n\t\t And the answer was so simple.", "JULIANNE\n\t\t Michael!!\n\n\t\t\t\tKIMMY\n\t\t\t (near tears)\n\t\t I am honest!\n\n\tSilence.", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "Julianne CLEARS her throat. Kimmy's heart flutters. In the\n\tsilence... Julianne's wonderful smile. Just kidding.", "Kimmy nods. Heads over toward her father. Julianne walks,\n\tconfidently, even provocatively, to the wall lined with bins of\n\tcigars. Every eye in the place is on her butt.", "Kimmy doesn't. But wipes a blue glob from Julianne's face.\n\n\t\t\t\tKIMMY\n\t\t Anyway, I think you're wrong.", "JULIANNE\n\t\t Well, of course, he loves\n\t\t you.\n\n\tKisses the top of Kimmy's head.", "KIMMY\n\t\t You don't think he'll be mad.\n\n\tA beat. Can Julianne even make herself do this?" ], [ "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "... THROWS her arms around the startled visitor. HOLDS her tight,\n\twith such genuine warmth that Julianne can only, slowly, hug back.\n\tAs Michael beams.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "And then, he's THERE. He has Julianne in his arms. Holding her\n\tso tight. An embrace so wonderful, so terrible, she could go mad", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Isabelle has risen from the main table, and comes to her. All\n\tsmiles. Julianne is in the Twilight Zone. What are these people\n\tlaughing about? Do they still think there's a wedding?", "INT. DRESSING ROOM - LATER\n\n\tJulianne sits on the loveseat in her bra and panties, lighting one\n\tcigarette from the butt of another. Suddenly, she hears...", "Julianne's face SNAPS to alert.\n\n\t\t\t\tJULIANNE\n\t\t Ex-cuse me?", "Julianne. In her pretty dress. Closes her eyes.\n\n\tINT.JULIANNE'S HOTEL ROOM - NIGHT", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Then he stops. As if reading Julianne's eyes.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "... Julianne, still in her suit, hiding by a table piled with a\n\tcarload of grapes. Her left hand still buried in her pocket. The\n\teyes of a hunted animal. From nowhere...", "It is amazing. Soulful vengeful sluts. He is enthralled. Julianne\n\tsimply impatient. She wants his attention.", "JULIANNE\n\t\t God! Then the door is jammed!", "JULIANNE\n\t\t\t (whispers)\n\t\t Is anybody watching?", "And the defenses drain from her clay-ravaged features. The real\n\tJulianne is glimpsed." ], [ "JULIANNE\n\t\t Why would she come here...\n\n\t\t\t\tMICHAEL\n\t\t This is where I proposed.", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "JULIANNE\n\t\t ... all of it. She's leaving her\n\t\t family, her friends, everything she", "JULIANNE\n\t\t\t (to the slip)\n\t\t You're going where?\n\n\tEXT. WALLACE ESTATE - DAY", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Julianne tearing through traffic, desperately struggling to keep\n\tMichael's Cherokee in view, while she shrieks into her cellular...", "The jetway disgorging passengers into the swarming ant colony\n\tcalled O'Hare. Julianne lugging multiple carry-ons, trying to pull", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "JULIANNE\n\t\t Take her there.\n\n\tHe nods, okay.", "JULIANNE\n\t\t Moves. You've never seen.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "JULIANNE (smiles)\n\t\t Sounds like a plan.\n\n\tINT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "INT. TAXI, SOUTH SIDE - DAY\n\n\tCab crawling toward COMISKEY PARK through stifling traffic.\n\tJulianne oblivious, cellular to her ear...", "JULIANNE\n\t\t\t (mumbles to herself)\n\t\t Oh, yeah.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER" ], [ "MICHAEL\n\t\t I'll call George's parents.\n\t\t Tell them I need a best man who\n\t\t actually looks after me.\n\n\tJulianne comes over.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t He said. Marry me.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "JULIANNE\n\t\t Yeah. Do you?\n\n\t\t\t\tGUY\n\t\t I asked first.", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "JULIANNE\n\t\t\t (softly)\n\t\t I think you're making a mistake,\n\t\t sir.\n\n\tHis eyes come back to her. A little sharply.", "JULIANNE\n\t\t\t (whispers)\n\t\t Is anybody watching?", "JULIANNE\n\t\t So you beg. Michael, please do\n\t\t this for Daddy, please, please,", "JULIANNE\n\t\t No. Because I won't let you.\n\n\tINT. WALLACE ENTERPRISES - DAY", "MICHAEL\n\t\t I asked you...\n\n\t\t\t\tJULIANNE\n\t\t She admits it's her fault.", "JULIANNE\n\t\t\t (whispers)\n\t\t He's going to take...\n\t\t\t (big grin)\n\t\t The job!", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "JULIANNE\n\t\t\t (murmurs)\n\t\t Shoeless... Joe.", "Julianne swallows. It is that.\n\n\t\t\t\tJULIANNE\n\t\t I need a smoke.", "And then, she does. She puts her hands flat on his chest. Looks\n\tin his eyes.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I love you.", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "So Julianne nods. Because she does too. Squints up at Michael.\n\n\t\t\t\tJULIANNE\n\t\t Got a minute?", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine." ], [ "JULIANNE\n\t\t\t (softly)\n\t\t I think you're making a mistake,\n\t\t sir.\n\n\tHis eyes come back to her. A little sharply.", "MICHAEL\n\t\t I'll call George's parents.\n\t\t Tell them I need a best man who\n\t\t actually looks after me.\n\n\tJulianne comes over.", "JULIANNE\n\t\t\t (reading)\n\t\t \"Maybe you should take the job.\n\t\t And dump the girl.\"\n\n\tAnd when she turns...", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Julianne nods. Maybe that part is right. Maybe it would have\n\tended anyway. Maybe she can pretend she's not a monster.", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "JULIANNE\n\t\t I am breaking her heart in the short\n\t\t run, but doing her a gigantic favor!\n\t\t She would be miserable tagging\n\t\t along after this insensitive doofus!", "Julianne thinks back.\n\n\t\t\t\tJULIANNE\n\t\t Friction. No.\n\n\tHe smiles at her line reading. But his mind is always probing.", "It is amazing. Soulful vengeful sluts. He is enthralled. Julianne\n\tsimply impatient. She wants his attention.", "JULIANNE\n\t\t Then it could all come out, sooner\n\t\t or later. Nobody should be in on\n\t\t this. Just you and me. Or, more\n\t\t correctly, I.", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "His eyes are loving. They care for her. She swallows, lost in\n\tthem.\n\n\t\t\t\tJULIANNE\n\t\t But when you think about it...", "Then he stops. As if reading Julianne's eyes.", "... Julianne, trapped in the crush, loses sight of the couple,\n\tstruggles against the flow, suddenly panicked by the certainty\n\tthat she will never see him before...", "into his ear. He looks at her. Then turns his station over to a\n\tclub steward, and follows Julianne down toward the lakeside.", "JULIANNE\n\t\t I mean, now. She's perky,\n\t\t she deserves a honeymoon.\n\n\tHe draws a breath..." ], [ "JULIANNE\n\t\t Michael!!\n\n\t\t\t\tKIMMY\n\t\t\t (near tears)\n\t\t I am honest!\n\n\tSilence.", "JULIANNE\n\t\t Why would she come here...\n\n\t\t\t\tMICHAEL\n\t\t This is where I proposed.", "Michael putting Kim in the back of a cab. As Julianne watches.\n\n\t\t\t\tMICHAEL\n\t\t Because I could come...", "MICHAEL\n\t\t Kimmy and I. We don't have a song.\n\t\t Is that a bad sign?\n\n\tAll Julianne can do is shrug. Then...", "MICHAEL\n\t\t Okay, kid. You're on.\n\n\tKim's eyes flick to Julianne, who nods, supportively. The kid\n\ttakes a breath.", "KIMMY (mutters to Julianne)\n\t\t That would be us.", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "JULIANNE\n\t\t Waiter! Check, please!\n\n\t\t\t\tMICHAEL\n\t\t She finds him \"personable.\"", "MICHAEL\n\t\t\t (singing)\n\t\t Someday. When I'm awfully low...\n\n\tThey sit. He looks from Julianne to his bride.", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "JULIANNE\n\t\t You've met her parents.\n\n\t\t\t\tMICHAEL (V.O., quiet)\n\t\t Well. Sure.", "JULIANNE\n\t\t No.\n\n\t\t\t\tKIMMY\n\t\t And the answer was so simple.", "KIMMY\n\t\t About Michael's job.\n\n\t\t\t\tJULIANNE\n\t\t Oh, that. I forgot I even said\n\t\t th...", "JULIANNE\n\t\t So you have to marry Kim.\n\t\t Because she will actually make", "JULIANNE\n\t\t You miss her, huh?\n\n\t\t\t\tMICHAEL\n\t\t No. I've got you.", "MICHAEL\n\t\t I asked you...\n\n\t\t\t\tJULIANNE\n\t\t She admits it's her fault.", "JULIANNE\n\t\t Pitiful.\n\n\tAnd pulls herself up to her knees. Kimmy tries to glare, but it\n\tjust isn't in her.", "JULIANNE\n\t\t What happened?\n\n\t\t\t\tMICHAEL\n\t\t\t (softly)\n\t\t It's over.", "MICHAEL (laughing)\n\t\t Should I turn around, or someth...\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm in my underwear!" ], [ "And then, she does. She puts her hands flat on his chest. Looks\n\tin his eyes.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I love you.", "Michael. Opening the door for Digger and Julianne. Digger says\n\tsomething, Michael gives him a strong HUG. Julianne raises one", "... THROWS her arms around the startled visitor. HOLDS her tight,\n\twith such genuine warmth that Julianne can only, slowly, hug back.\n\tAs Michael beams.", "sport. Julianne watches Michael's body for a beat, then...", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "MICHAEL\n\t\t I tried those on. When you\n\t\t weren't looking.\n\n\tNow he's grinning at Julianne. And she likes that a lot.", "JULIANNE\n\t\t Come in, and shut the...\n\n\tStops. Because it's Michael who has entered. With the dress.", "Julianne's eyes flicker. Could this be a teensy opening? Keeps\n\ther eyes, her easy smile, and her killer instincts trained on\n\tMichael.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage.", "Shakes his head. Can you imagine that?\n\n\t\t\t\tJULIANNE\n\t\t Michael...", "MICHAEL\n\t\t Almost three.\n\n\t\t\t\tJULIANNE\n\t\t That is so romantic.\n\n\tWhich makes him reach and touch her hair.", "MICHAEL (laughing)\n\t\t Should I turn around, or someth...\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm in my underwear!", "So Julianne nods. Because she does too. Squints up at Michael.\n\n\t\t\t\tJULIANNE\n\t\t Got a minute?", "And with that the band begins. The opening phrases of a song we\n\thave come to know. Michael seems overwhelmed. Julianne nods\n\ttoward the gazebo...", "JULIANNE\n\t\t\t (turning to him)\n\t\t Michael? What ha...", "MICHAEL\n\t\t\t (singing)\n\t\t Someday. When I'm awfully low...\n\n\tThey sit. He looks from Julianne to his bride.", "... Michael is racing for the cars. Julianne, sprinting her guts\n\tout, losing ground with every stride. Michael JUMPS into a\n\tCherokee...", "Stops. Full-length mirror. She straightens her hair, to look her\n\tbest.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm married.", "Michael putting Kim in the back of a cab. As Julianne watches.\n\n\t\t\t\tMICHAEL\n\t\t Because I could come...", "And then, he's THERE. He has Julianne in his arms. Holding her\n\tso tight. An embrace so wonderful, so terrible, she could go mad" ], [ "KIMMY\n\t\t\t (O.S., sobbing)\n\t\t In here, you bitch!", "And leans close. As Kimmy flinches.", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "... Kimmy does. On her father's arm, she walks the gauntlet of the\n\tworld's intrusive admiration. One step at a time. The most beautiful", "Kimmy bites her lip. Her eyes go down. Self-conscious to admit...", "KIMMY (softly)\n\t\t Bingo.\n\n\tThey smile at each other. More bonded than ever.", "Kimmy nodding. Hope overriding reason.", "As grown men and women SCREAM in spontaneous terror below, Kimmy\n\tbegins to...\n\n\t... LAUGH. And KISS and hug her new sister. And holds her tight.", "INT. KIMMY'S CONVERTIBLE - DAY", "KIMMY\n\t\t The very words I've used.\n\n\tJulianne 'thinks it over.' Kimmy waits for guidance.", "KIMMY\n\t\t I'm just a baby. I've got all...\n\t\t the time... in the world.\n\n\tEXT. CLUB - NIGHT", "KIMMY\n\t\t\t (whispers)\n\t\t So. What did he say?\n\n\tJulianne's eyes move over the young girl's face.", "KIMMY\n\t\t Well, if that's the way you f...", "Kimmy, staring from halfway there, has an insurmountable lead.\n\tLEAPS into her convertible and PEELS OUT, just TEARING up the", "Kimmy's lip trembles. This is not how she thought of her wedding.\n\tThe din is so horrific, Kimmy leads them into a walk-in meat", "At the elevator. Kimmy SLAMS the button.", "KIMMY (firm)\n\t\t Just. Don't. Move.", "KIMMY (to the sluts)\n\t\t Dry. I told you.", "... there she is. KIMBERLY WALLACE is 20, small and slender, but it\n\tis a body to die for. The face is striking, not at all perky and", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart..." ], [ "MICHAEL\n\t\t She denied it. Said I was crazy\n\t\t and paranoid.\n\n\t\t\t\tJULIANNE\n\t\t A bad combination.", "And then, she does. She puts her hands flat on his chest. Looks\n\tin his eyes.\n\n\t\t\t\tJULIANNE\n\t\t Michael, I love you.", "Shakes his head. Can you imagine that?\n\n\t\t\t\tJULIANNE\n\t\t Michael...", "MICHAEL\n\t\t You're not eating.\n\n\t\t\t\tJULIANNE\n\t\t I never eat when I'm serene.", "MICHAEL\n\t\t I asked you...\n\n\t\t\t\tJULIANNE\n\t\t She admits it's her fault.", "JULIANNE\n\t\t What happened?\n\n\t\t\t\tMICHAEL\n\t\t\t (softly)\n\t\t It's over.", "Michael putting Kim in the back of a cab. As Julianne watches.\n\n\t\t\t\tMICHAEL\n\t\t Because I could come...", "MICHAEL (laughing)\n\t\t Should I turn around, or someth...\n\n\t\t\t\tJULIANNE\n\t\t Michael, I'm in my underwear!", "MICHAEL\n\t\t I tried those on. When you\n\t\t weren't looking.\n\n\tNow he's grinning at Julianne. And she likes that a lot.", "JULIANNE\n\t\t\t (turning to him)\n\t\t Michael? What ha...", "Julianne's eyes flicker. Could this be a teensy opening? Keeps\n\ther eyes, her easy smile, and her killer instincts trained on\n\tMichael.", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "JULIANNE\n\t\t You miss her, huh?\n\n\t\t\t\tMICHAEL\n\t\t No. I've got you.", "JULIANNE\n\t\t Come in, and shut the...\n\n\tStops. Because it's Michael who has entered. With the dress.", "MICHAEL\n\t\t Almost three.\n\n\t\t\t\tJULIANNE\n\t\t That is so romantic.\n\n\tWhich makes him reach and touch her hair.", "JULIANNE\n\t\t Why would she come here...\n\n\t\t\t\tMICHAEL\n\t\t This is where I proposed.", "JULIANNE\n\t\t No, no, the opposite. That's\n\t\t my best friend, Michael O'Neal.\n\t\t He sounds desperate to talk.", "MICHAEL\n\t\t At first, I thought it was a\n\t\t gag, but she's always done it!\n\n\tThis is not the ammunition Julianne was hoping for.", "JULIANNE\n\t\t Well, maybe we should talk ab...\n\n\t\t\t\tMICHAEL (V.O.)\n\t\t I need you.", "MICHAEL\n\t\t Kimmy and I. We don't have a song.\n\t\t Is that a bad sign?\n\n\tAll Julianne can do is shrug. Then..." ], [ "JULIANNE\n\t\t\t (reading)\n\t\t I received the following E-mail", "JULIANNE\n\t\t We could use... his computer, to...\n\t\t just E-mail those suckers right ou...", "She takes the paper back.\n\n\t\t\t\tJULIANNE\n\t\t What if, what if I could find\n\t\t that E-mail?", "JULIANNE\n\t\t\t (mumbling to herself)\n\t\t E-mail address. To Ben Isaacson,\n\t\t Senior Editor, Sports Illustrated,\n\t\t from... Walter Wallace.", "This. He's waiting to hear.\n\n\t\t\t\tJULIANNE\n\t\t The E-mail? You thought Walter\n\t\t sent your boss? I wrote that.", "JULIANNE\n\t\t \"Mike. We still have no answer to\n\t\t our E-mail of Wednesday. Which", "JULIANNE\n\t\t\t (stricken with remorse)\n\t\t ... wrote it, yeah. I'm the\n\t\t bad guy.", "Julianne grimly \"struggles\" to \"find\" what she's looking for in\n\tMichael's laptop. And then...", "JULIANNE\n\t\t For doing this terrible thing.\n\n\tHer eyes tear up.", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "JULIANNE\n\t\t I didn't know it would get\n\t\t sent. I just wanted you to...\n\t\t get mad at Kimmy... and...", "Julianne nods. Maybe that part is right. Maybe it would have\n\tended anyway. Maybe she can pretend she's not a monster.", "for five. DEIDRE, his personal secretary, clicking every word into\n\ther laptop at warp speed. Walter sees Julianne through the glass.", "MICHAEL\n\t\t She denied it. Said I was crazy\n\t\t and paranoid.\n\n\t\t\t\tJULIANNE\n\t\t A bad combination.", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "Julianne enters the spacious corner office, high above the city.\n\tCloses the door, quietly, behind her. So anxious, she is", "MICHAEL\n\t\t She would never. Never. Even think\n\t\t of that.\n\n\tPaydirt. Julianne's Geiger Counter is going berserk.", "JULIANNE\n\t\t Are you crazy? Get him fired?\n\n\tTypes NO. The computer asks HOLD FOR LATER? And she types YES.", "And drives off. As he watches after, Julianne comes up behind him.\n\tSlips her hand up onto his shoulder muscle. Starts giving a little\n\tmassage." ], [ "Julianne's face. Stops.\n\n\t\t\t\tJULIANNE\n\t\t Oh, yeah?\n\n\tKimmy nods. Confides...", "JULIANNE\n\t\t And your point?\n\n\t\t\t\tMICHAEL\n\t\t\t (ten years old)\n\t\t Well. How come she didn't...", "JULIANNE\n\t\t Exactly.\n\n\t\t\t\tKIMMY\n\t\t Exactly what?", "HOLD ON Julianne. Staring in the mirror. Like watching the end of\n\ther life.\n\n\tINT. BEDROOM - LATER", "Julianne just blinks. Amazed.\n\n\t\t\t\tJULIANNE\n\t\t I'm not stupid. Say, how\n\t\t about this?", "JULIANNE\n\t\t\t (whispers)\n\t\t Is anybody watching?", "JULIANNE\n\t\t\t (murmurs)\n\t\t Shoeless... Joe.", "JULIANNE\n\t\t Moves. You've never seen.", "JULIANNE\n\t\t Such as.\n\n\t\t\t\tMICHAEL\n\t\t She's too genuine.", "Julianne. In her pretty dress. Closes her eyes.\n\n\tINT.JULIANNE'S HOTEL ROOM - NIGHT", "JULIANNE\n\t\t\t (mumbles to herself)\n\t\t Oh, yeah.", "JULIANNE\n\t\t You've met her parents.\n\n\t\t\t\tMICHAEL (V.O., quiet)\n\t\t Well. Sure.", "Isabelle has risen from the main table, and comes to her. All\n\tsmiles. Julianne is in the Twilight Zone. What are these people\n\tlaughing about? Do they still think there's a wedding?", "Walter alone with Deidre now, signing a stack of documents, as she\n\tefficiently places one after another before him. When he glances up,\n\the sees Julianne wandering the halls. Stands, tells his secretary...", "JULIANNE\n\t\t No. Because I won't let you.\n\n\tINT. WALLACE ENTERPRISES - DAY", "JULIANNE\n\t\t Never can tell.\n\n\tHe holds her chair. She exchanges an intimate smile with the\n\tanxious Kim.", "Julianne is so lost in her own anxiety, she doesn't even notice,\n\tuntil...", "JULIANNE\n\t\t\t (softly)\n\t\t They'd say that's my job.", "JULIANNE\n\t\t See, I love him, too, as much\n\t\t as anyone here. And for a\n\t\t whole lot longer.\n\n\tFrom her heart.", "KIMMY\n\t\t\t (whispers)\n\t\t So. What did he say?\n\n\tJulianne's eyes move over the young girl's face." ], [ "... Kimmy does. On her father's arm, she walks the gauntlet of the\n\tworld's intrusive admiration. One step at a time. The most beautiful", "INT. KIMMY'S CONVERTIBLE - DAY", "Smiles.\n\n\t\t\t\tJULIANNE\n\t\t What's not to love?\n\n\tNone of this is lost on Kimmy. She's wondered the same.", "And leans close. As Kimmy flinches.", "Kimmy, staring from halfway there, has an insurmountable lead.\n\tLEAPS into her convertible and PEELS OUT, just TEARING up the", "As grown men and women SCREAM in spontaneous terror below, Kimmy\n\tbegins to...\n\n\t... LAUGH. And KISS and hug her new sister. And holds her tight.", "Kimmy nodding. Hope overriding reason.", "KIMMY\n\t\t\t (O.S., sobbing)\n\t\t In here, you bitch!", "On that basis. They leave. Kimmy sits on a stack of packaged\n\tfrozen fowl parts. Stares up with big, sweet, wet eyes.", "Kimmy's lip trembles. This is not how she thought of her wedding.\n\tThe din is so horrific, Kimmy leads them into a walk-in meat", "JULIANNE\n\t\t\t (very soft)\n\t\t Hell, even I love you.\n\n\tKimmy holds her tight. From her heart...", "KIMMY\n\t\t Uh. I'm not coming back. For\n\t\t senior year.\n\n\tCould this be. The Mother Lode?", "Kimmy bites her lip. Her eyes go down. Self-conscious to admit...", "... the face of the bride. Now we understand the word radiant. We\n\talso understand scared senseless. Our perfect, unflappable Kimmy", "KIMMY (softly)\n\t\t Bingo.\n\n\tThey smile at each other. More bonded than ever.", "Kim smiles. He kisses her, tenderly, through the open window. She\n\twaves past him at Julianne.\n\n\t\t\t\tKIMMY (to both)\n\t\t Enjoy each other.", "She walks toward them purposefully, her eyes locked to the woman in\n\ther fiancee's arms. At the last moment, Michael releases Julianne\n\tand Kimmy...", "At the elevator. Kimmy SLAMS the button.", "KIMMY\n\t\t It's his career, I'm supportive.\n\t\t Look, I've been everywhere, I've", "... there she is. KIMBERLY WALLACE is 20, small and slender, but it\n\tis a body to die for. The face is striking, not at all perky and" ] ]

[ "Why does Julianne go to Chicago?", "Who is Michael marrying?", "Who does Julianne ask to pretend to be her fiance?", "What do Michael and Julianne dance to?", "What does Kimmy witness that causes her to run off?", "Where did Kimmy run off to hide?", "How did Julianne realize Michael was truly in love with Kimmy?", "Who ends up getting married?", "Who shows up at the end and dances with Julianne?", "What is Julianne's Occupation?", "What agreement did O'neal and Potter make ?", "Why does Julianne go to chicago?", "What must Julianne secretly do as the maid of honor?", "Who does Julianne forge an email to?", "Who do Michaela and Kimmy Communicate through?", "What does Julianne witness?", "Where do they find Kimmy?", "What does Julianne declare about Kimmy?", "Who surprises Julianne?", "Why does Julianne go to Chicago?", "What does Julianne ask George to do?", "What does George think Julianne should do?", "Why did Julianne take Michael and Kimmy to the karaoke bar?", "What does Michael do after Julianne kisses him?", "How old is Kimmy?", "Why does Julianne say Michael didn't kiss her back?", "Who does Julianne forge an e-mail to?", "How old is Julianne?", "What college does Kimmy attend?" ]

[ [ "To sabotage Michael's wedding because she is in love with him", "To sabotage the wedding " ], [ "Kimmy Wallace, a 20 year old", "Kimmy Wallace." ], [ "George", "George Downes" ], [ "Their song being sung by Michael", "Michael singing their special song." ], [ "Julianne kissing Michael.", "Michael and Julianne kiss" ], [ "Comiskey Park ", "bathroom" ], [ "When Michael didn't kiss Julianne back.", "When she pursues him, but sees that he is at the train station looking for Kimmy." ], [ "Michael and Kimmy", "Michael and Kimmy" ], [ "George", "George" ], [ "A New York restaurant critic", "food critic" ], [ "They would marry each other.", "If neither one of them were married by the time they were 28, they would marry each other." ], [ "To sabotage the wedding", "To sabotage the wedding " ], [ "Prevent the wedding from happening", "scheme ways to sabotage the wedding" ], [ "Michael's employer.", "Michael's Employer" ], [ "Julianne", "Julianne" ], [ "Julianne kissing her husband", "Michael's love" ], [ "Comiskey Park", "Comiskey Park" ], [ "She has won", "Kimmy has won." ], [ "George", "George" ], [ "To sabotage the wedding", "She wants to sabotage Michael's wedding." ], [ "Pretend that he is engaged to her", "to pretend he's her fiancee" ], [ "Tell Michael she loves him", "Tell Michael she is in love with him" ], [ "Michael is a horrible singer", "She understands that Kimmy is a poor singer." ], [ "He chases KImmy", "He chases Kimmy." ], [ "20", "20 years old." ], [ "He loves Kimmy", "He is in love with Kimmy" ], [ "Michael's boss", "Michael's employer" ], [ "27", "27" ], [ "The University of Chicago", "University of Chicago." ] ]

[ [ "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "BARABAS. How, my lord! my money!\n\n FERNEZE. Thine and the rest;\n For, to be short, amongst you't must be had.", "BARABAS. My gold, my gold, and all my wealth is gone!--\n You partial heavens, have I deserv'd this plague?", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience\nwere to suppose that Barabas had been thrown over the walls, and\nthat the stage now represented the outside of the city.]", "FIRST OFFICER. My lord, the courtezan and her man are dead;\n So is the Turk and Barabas the Jew.\n\n FERNEZE. Dead!", "BARABAS. Then now are all things as my wish would have 'em;\n There wanteth nothing but the governor's pelf;\n And see, he brings it.\n\n Enter FERNEZE.", "Exeunt all, leaving BARABAS on the floor. [181]", "And yet have kept enough to live upon;\n So that not he, but I, may curse the day,\n Thy fatal birth-day, forlorn Barabas;", "FIRST OFFICER.\n Here comes the Jew: had not his goods been seiz'd,\n He'd give us present money for them all.\n\n Enter BARABAS.", "BARABAS. Hast thou't?\n\n ABIGAIL. Here.[throws down bags] Hast thou't?\n There's more, and more, and more.", "BARABAS. Why did you yield to their extortion?\n You were a multitude, and I but one;\n And of me only have they taken all.", "ACT I. [16]\n\n BARABAS discovered in his counting-house, with heaps\n of gold before him.", "BARABAS. Ay, fare you well.\n [Exeunt three JEWS.] [42]\n See the simplicity of these base slaves,", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. Good sir,\n Your father has deserv'd it at my hands,\n Who, of mere charity and Christian ruth,", "And that will prove but simple policy.\n [Exeunt all except BARABAS and the three JEWS.]" ], [ "ABIGAIL. Hard-hearted father, unkind Barabas!\n Was this the pursuit of thy policy,\n To make me shew them favour severally,", "ABIGAIL. Where, father?\n\n BARABAS. In my house, my girl.", "BARABAS. [coming forward] Why, how now, Abigail!\n What mak'st thou 'mongst these hateful Christians?", "BARABAS. Why, made mine Abigail a nun.\n\n ITHAMORE. That's no lie; for she sent me for him.", "ABIGAIL. Nay, you shall pardon me.--O Barabas,\n Though thou deservest hardly at my hands,\n Yet never shall these lips bewray thy life!\n [Aside.]", "BARABAS. Then, Abigail, there must my girl\n Entreat the abbess to be entertain'd.\n\n ABIGAIL. How! as a nun?", "ABIGAIL. I know not: but farewell; I must be gone.\n\n BARABAS. Stay her, but let her not speak one word more.", "ABIGAIL. I will have Don Mathias; he is my love.\n\n BARABAS. Yes, you shall have him.--Go, put her in.", "ABIGAIL. Who's that?\n\n BARABAS. Peace, Abigail! 'tis I.\n\n ABIGAIL. Then, father, here receive thy happiness.", "ABIGAIL. The hopeless daughter of a hapless Jew,\n The Jew of Malta, wretched Barabas,", "ABIGAIL. Nor for myself, but aged Barabas,\n Father, for thee lamenteth Abigail:\n But I will learn to leave these fruitless tears;", "ABIGAIL. I cannot take my leave of him for tears.\n Father, why have you thus incens'd them both?\n\n BARABAS. What's that to thee?", "BARABAS. I have it for you, sir: please you walk in with me.--\n What, ho, Abigail! open the door, I say!\n\n Enter ABIGAIL, with letters.", "BARABAS. Ay, daughter; for religion\n Hides many mischiefs from suspicion.\n\n ABIGAIL. Ay, but, father, they will suspect me there.", "BARABAS. Hast thou't?\n\n ABIGAIL. Here.[throws down bags] Hast thou't?\n There's more, and more, and more.", "ABIGAIL. He has my heart; I smile against my will.\n [Aside.]\n\n LODOWICK. Barabas, thou know'st I have lov'd thy daughter long.", "BARABAS. What, Abigail become a nun again!\n False and unkind! what, hast thou lost thy father?", "BARABAS. Why, so.\n Then thus: thou told'st me they have turn'd my house\n Into a nunnery, and some nuns are there?\n\n ABIGAIL. I did.", "ABIGAIL. Then shall they ne'er be seen of Barabas;\n For they have seiz'd upon thy house and wares.", "BARABAS. No, Abigail; things past recovery\n Are hardly cur'd with exclamations:\n Be silent, daughter; sufferance breeds ease," ], [ "MATHIAS. What make the Jew and Lodowick so private?\n I fear me 'tis about fair Abigail.\n [Aside.]", "MATHIAS. Farewell, Lodowick.\n [Exeunt severally.]\n\n\n\n\nACT II.", "MATHIAS. What greater gift can poor Mathias have?\n Shall Lodowick rob me of so fair a love?\n My life is not so dear as Abigail.", "MATHIAS. I must and will, sir; there's no remedy.\n\n LODOWICK. And so will I too, or it shall go hard.\n Farewell, Mathias.", "LODOWICK. But say, what was she?\n\n MATHIAS. Why, the rich Jew's daughter.", "That by my favour they should both be slain?\n Admit thou lov'dst not Lodowick for his sire, [103]\n Yet Don Mathias ne'er offended thee:", "LODOWICK. Why, loves she Don Mathias?\n\n BARABAS. Doth she not with her smiling answer you?", "MATHIAS. O treacherous Lodowick!\n\n BARABAS. Even now, as I came home, he slipt me in,\n And I am sure he is with Abigail.", "BARABAS. [to LODOWICK.] Yonder comes Don Mathias; let us stay: [76]\n He loves my daughter, and she holds him dear;", "MATHIAS. Believe me, noble Lodowick, I have seen\n The strangest sight, in my opinion,\n That ever I beheld.", "LODOWICK. I did it; and revenge it, if thou dar'st!\n [They fight.]\n\n Enter BARABAS above.", "Enter LODOWICK.\n\n LODOWICK. Why, how now, Don Mathias! in a dump?", "Re-enter LODOWICK and ABIGAIL.\n\n MATHIAS. What, hand in hand! I cannot suffer this.", "Enter MATHIAS.\n\n Whither goes Don Mathias? stay a while.\n\n MATHIAS. Whither, but to my fair love Abigail?", "Re-enter MATHIAS.\n\n BARABAS. Be quiet, Lodowick; it is enough\n That I have made thee sure to Abigail.", "ABIGAIL. My father did contract me to 'em both;\n First to Don Lodowick: him I never lov'd;\n Mathias was the man that I held dear,\n And for his sake did I become a nun.", "LODOWICK. My death! what, is the base-born peasant mad?", "MATHIAS. But wherefore talk'd Don Lodowick with you?\n\n BARABAS. Tush, man! we talk'd of diamonds, not of Abigail.", "BARABAS. Ay, so thou shalt; 'tis thou must do the deed:\n Take this, and bear it to Mathias straight,\n [Giving a letter.]\n And tell him that it comes from Lodowick.", "FRIAR BARNARDINE. Ay, but, Barabas,\n Remember Mathias and Don Lodowick.\n\n BARABAS. Why, what of them?" ], [ "ITHAMORE. Ay, I'll put her in.\n [Puts in ABIGAIL.]\n\n BARABAS. Now tell me, Ithamore, how lik'st thou this?", "BARABAS. Why, made mine Abigail a nun.\n\n ITHAMORE. That's no lie; for she sent me for him.", "ITHAMORE. Faith, master, I think by this\n You purchase both their lives: is it not so?\n\n BARABAS. True; and it shall be cunningly perform'd.", "BARABAS. O unhappy day!\n False, credulous, inconstant Abigail!\n But let 'em go: and, Ithamore, from hence", "BARABAS. Thou shalt not need; for, now the nuns are dead,\n They'll die with grief.\n\n ITHAMORE. Do you not sorrow for your daughter's death?", "ABIGAIL. Hard-hearted father, unkind Barabas!\n Was this the pursuit of thy policy,\n To make me shew them favour severally,", "ABIGAIL. And was my father furtherer of their deaths?\n\n ITHAMORE. Am I Ithamore?\n\n ABIGAIL. Yes.", "ABIGAIL. I know not: but farewell; I must be gone.\n\n BARABAS. Stay her, but let her not speak one word more.", "BARABAS. [coming forward] Why, how now, Abigail!\n What mak'st thou 'mongst these hateful Christians?", "Enter BARABAS and ITHAMORE.\n\n BARABAS. Why, how now, Jacomo! what hast thou done?", "Re-enter MATHIAS.\n\n BARABAS. Be quiet, Lodowick; it is enough\n That I have made thee sure to Abigail.", "BARABAS. Hast thou't?\n\n ABIGAIL. Here.[throws down bags] Hast thou't?\n There's more, and more, and more.", "ITHAMORE. To-day.\n\n BARABAS. With whom?\n\n ITHAMORE. A friar.", "ABIGAIL. I will have Don Mathias; he is my love.\n\n BARABAS. Yes, you shall have him.--Go, put her in.", "BARABAS. Ithamore, entreat not for her; I am mov'd,\n And she is hateful to my soul and me:", "ITHAMORE.\n That's brave, master: but think you it will not be known?\n\n BARABAS. How can it, if we two be secret?", "BARABAS. Very well, Ithamore; then now be secret;\n And, for thy sake, whom I so dearly love,", "ABIGAIL. Where, father?\n\n BARABAS. In my house, my girl.", "LODOWICK. Yond' walks the Jew: now for fair Abigail.\n\n BARABAS. Ay, ay, no doubt but she's at your command.\n [Aside.]", "BARABAS. Peace, Ithamore! 'tis better so than spar'd.\n [Puts the powder into the pot.]" ], [ "And, Barabas, as erst we promis'd thee,\n For thy desert we make thee governor;\n Use them at thy discretion.", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "BARABAS. Governor, presently;\n For Calymath, when he hath view'd the town,\n Will take his leave, and sail toward Ottoman.", "[Footnote 190: Thus hast thou gotten, &c.: A change of scene is supposed\nhere--to the Citadel, the residence of Barabas as governor.]", "But Malta hates me, and, in hating me,\n My life's in danger; and what boots it thee,\n Poor Barabas, to be the governor,", "BARABAS. Then now are all things as my wish would have 'em;\n There wanteth nothing but the governor's pelf;\n And see, he brings it.\n\n Enter FERNEZE.", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "FERNEZE. Why, Barabas, wilt thou be christened?\n\n BARABAS. No, governor, I will be no convertite. [39]", "BARABAS. Governor, good words; be not so furious\n 'Tis not thy life which can avail me aught;", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "CALYMATH. If this be true, I'll make thee governor.\n\n BARABAS. And, if it be not true, then let me die.", "This is the reason that I sent for thee:\n Thou seest thy life and Malta's happiness\n Are at my arbitrement; and Barabas", "Than many perish for a private man:\n Yet, Barabas, we will not banish thee,\n But here in Malta, where thou gott'st thy wealth,", "BARABAS. Pounds say'st thou, governor? well, since it is no more,\n I'll satisfy myself with that; nay, keep it still,", "BARABAS. Give me the letters.--Daughter, do you hear?\n Entertain Lodowick, the governor's son,\n With all the courtesy you can afford,", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. No, governor; I'll satisfy thee first;\n Thou shalt not live in doubt of any thing.\n Stand close, for here they come.", "BARABAS. Ay, LORD; thus slaves will learn.\n Now, governor,--stand by there, wait within,--\n [Exeunt GUARD.]", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience\nwere to suppose that Barabas had been thrown over the walls, and\nthat the stage now represented the outside of the city.]" ], [ "FRIAR JACOMO. Good sirs, I have done't: but nobody knows it but\n you two; I may escape.\n\n BARABAS. So might my man and I hang with you for company.", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience\nwere to suppose that Barabas had been thrown over the walls, and\nthat the stage now represented the outside of the city.]", "BARABAS. Ay, fare you well.\n [Exeunt three JEWS.] [42]\n See the simplicity of these base slaves,", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "[Cries within] Part 'em, part 'em!\n\n BARABAS. Ay, part 'em now they are dead. Farewell, farewell!\n [Exit above.]", "BARABAS. Away! no more; let him not trouble me.\n [Exeunt TURKS with FERNEZE and KNIGHTS.]", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "FIRST OFFICER. My lord, the courtezan and her man are dead;\n So is the Turk and Barabas the Jew.\n\n FERNEZE. Dead!", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. And the horse-pestilence to boot: away!\n\n ITHAMORE. I am gone:\n Pay me my wages, for my work is done.\n [Exit with the pot.]", "BARABAS. No, no:\n I drank of poppy and cold mandrake juice;\n And being asleep, belike they thought me dead,", "BARABAS. How! half his estate!--I hope you mean not mine.\n [Aside.]\n\n FERNEZE. Read on.", "BARABAS. You see I answer him, and yet he stays;\n Rid him away, and go you home with me.\n\n FRIAR JACOMO. I'll be with you to-night.", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. Governor, good words; be not so furious\n 'Tis not thy life which can avail me aught;" ], [ "FIRST OFFICER. My lord, the courtezan and her man are dead;\n So is the Turk and Barabas the Jew.\n\n FERNEZE. Dead!", "BARABAS. So, now I am reveng'd upon 'em all:\n The scent thereof was death; I poison'd it.\n [Aside.]", "Re-enter OFFICERS, carrying BARABAS as dead.", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. Good sir,\n Your father has deserv'd it at my hands,\n Who, of mere charity and Christian ruth,", "[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience\nwere to suppose that Barabas had been thrown over the walls, and\nthat the stage now represented the outside of the city.]", "[Cries within] Part 'em, part 'em!\n\n BARABAS. Ay, part 'em now they are dead. Farewell, farewell!\n [Exit above.]", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "BARABAS. Confess! what mean you, lords? who should confess?\n\n FERNEZE. Thou and thy Turk; 'twas that slew my son.", "BARABAS. As for myself, I walk abroad o' nights,\n And kill sick people groaning under walls:\n Sometimes I go about and poison wells;", "BARABAS. Away! no more; let him not trouble me.\n [Exeunt TURKS with FERNEZE and KNIGHTS.]", "BARABAS. Ay, fare you well.\n [Exeunt three JEWS.] [42]\n See the simplicity of these base slaves,", "And, Barabas, as erst we promis'd thee,\n For thy desert we make thee governor;\n Use them at thy discretion.", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "Out, out, thou wretch!\n [Exit, on one side, BARABAS. Exeunt, on the other side,", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "BARABAS. A friar! false villain, he hath done the deed.\n\n ITHAMORE. How, sir!", "BARABAS. You see I answer him, and yet he stays;\n Rid him away, and go you home with me.\n\n FRIAR JACOMO. I'll be with you to-night." ], [ "[Footnote 73: Slave: To the speeches of this Slave the old ed. prefixes\n\"Itha.\" and \"Ith.\", confounding him with Ithamore.]", "ITHAMORE. Faith, sir, my birth is but mean; my name's Ithamore;\n my profession what you please.", "ITHAMORE. Faith, master,\n In setting Christian villages on fire,\n Chaining of eunuchs, binding galley-slaves.", "ITHAMORE. I hold my head, my master's hungry [Aside].--I go, sir.\n [Exit.]", "ITHAMORE. O, master, that I might have a hand in this!", "ITHAMORE. Ay, master, he's slain; look how his brains drop out\n on's [144] nose.", "ITHAMORE. You knew Mathias and the governor's son; he and I\n killed 'em both, and yet never touched 'em.\n\n PILIA-BORZA. O, bravely done!", "ITHAMORE. Nay, master, be ruled by me a little. [Takes the body,\n sets it upright against the wall, and puts a staff in its hand.]", "ITHAMORE. In Thrace; brought up in Arabia.", "ITHAMORE. Why, a Turk could ha' done no more.", "ITHAMORE. I carried the broth that poisoned the nuns; and he\n and I, snicle hand too fast, strangled a friar. [172]", "ITHAMORE. Ay, I'll put her in.\n [Puts in ABIGAIL.]\n\n BARABAS. Now tell me, Ithamore, how lik'st thou this?", "ITHAMORE. Guilty, my lord, I confess. Your son and Mathias\n were both contracted unto Abigail: [he] forged a counterfeit\n challenge.", "ITHAMORE. O, brave, master! [78] I worship your nose [79] for this.", "ITHAMORE. Why, know you not?\n\n ABIGAIL. Why, no.", "ITHAMORE. And so could I; but penance will not serve.", "ITHAMORE. Ay, and such as--go to, no more! I'll make him [153]", "ITHAMORE. 'Tis a strange thing of that Jew, he lives upon\n pickled grasshoppers and sauced mushrooms. [175]", "ITHAMORE. O master--", "ITHAMORE. O, the sweetest face that ever I beheld! I know she\n is a courtezan by her attire: now would I give a hundred of" ], [ "MATHIAS. O treacherous Lodowick!\n\n BARABAS. Even now, as I came home, he slipt me in,\n And I am sure he is with Abigail.", "BARABAS. Ay, so thou shalt; 'tis thou must do the deed:\n Take this, and bear it to Mathias straight,\n [Giving a letter.]\n And tell him that it comes from Lodowick.", "LODOWICK. Why, loves she Don Mathias?\n\n BARABAS. Doth she not with her smiling answer you?", "Re-enter MATHIAS.\n\n BARABAS. Be quiet, Lodowick; it is enough\n That I have made thee sure to Abigail.", "BARABAS. [to LODOWICK.] Yonder comes Don Mathias; let us stay: [76]\n He loves my daughter, and she holds him dear;", "MATHIAS. But wherefore talk'd Don Lodowick with you?\n\n BARABAS. Tush, man! we talk'd of diamonds, not of Abigail.", "FRIAR BARNARDINE. Ay, but, Barabas,\n Remember Mathias and Don Lodowick.\n\n BARABAS. Why, what of them?", "Enter LODOWICK. [82]\n\n LODOWICK. O, Barabas, well met;\n Where is the diamond you told me of?", "BARABAS. Mathias, as thou lov'st me, not a word.\n\n MATHIAS. Well, let it pass; another time shall serve.\n [Exit into the house.]", "LODOWICK. I like it much the better.\n\n BARABAS. So do I too.\n\n LODOWICK. How shews it by night?", "MATHIAS. For this I'll have his heart.\n\n BARABAS. Do so. Lo, here I give thee Abigail!", "BARABAS. No, no; and yet it might be done that way:\n It is a challenge feign'd from Lodowick.", "MATHIAS. What make the Jew and Lodowick so private?\n I fear me 'tis about fair Abigail.\n [Aside.]", "LODOWICK. I did it; and revenge it, if thou dar'st!\n [They fight.]\n\n Enter BARABAS above.", "BARABAS. O, bravely fought! and yet they thrust not home.\n Now, Lodovico! [93] now, Mathias!--So;", "LODOWICK. Barabas, is not that the widow's son?\n\n BARABAS. Ay, and take heed, for he hath sworn your death.", "LODOWICK. Well, Barabas, canst help me to a diamond?", "LODOWICK. Yond' walks the Jew: now for fair Abigail.\n\n BARABAS. Ay, ay, no doubt but she's at your command.\n [Aside.]", "ABIGAIL. I will have Don Mathias; he is my love.\n\n BARABAS. Yes, you shall have him.--Go, put her in.", "MATHIAS. Sirrah Jew, remember the book.\n\n BARABAS. Marry, will I, sir.\n [Exeunt KATHARlNE and MATHIAS.]" ], [ "BARABAS. Now I remember those old women's words,\n Who in my wealth would tell me winter's tales,\n And speak of spirits and ghosts that glide by night", "And in the shadow of the silent night\n Doth shake contagion from her sable wings,\n Vex'd and tormented runs poor Barabas", "He sent a shaggy, tatter'd, [160] staring slave,\n That, when he speaks, draws out his grisly beard,\n And winds it twice or thrice about his ear;", "And in the fury of thy torments strive\n To end thy life with resolution.--\n Know, governor, 'twas I that slew thy son,--", "BARABAS. So, now the fear is past, and I am safe;\n For he that shriv'd her is within my house:", "And, now the Guise [11] is dead, is come from France,\n To view this land, and frolic with his friends.\n To some perhaps my name is odious;", "BARABAS. Stay; first let me stir it, Ithamore.\n As fatal be it to her as the draught\n Of which great Alexander drunk, and died;", "BARABAS. As for myself, I walk abroad o' nights,\n And kill sick people groaning under walls:\n Sometimes I go about and poison wells;", "And, Barabas, now search this secret out;\n Summon thy senses, call thy wits together:\n These silly men mistake the matter clean.", "(From p. 148, this play:", "FERNEZE. What sight is this! [95] my Lodovico [96] slain!\n These arms of mine shall be thy sepulchre. [97]", "I have it:\n I will in some disguise go see the slave,\n And how the villain revels with my gold.\n [Exit.]", "Of Abigail this night! or let the day\n Turn to eternal darkness after this!--\n No sleep can fasten on my watchful eyes,", "KATHARINE. Thy son slew mine, and I'll revenge his death.\n\n FERNEZE. Look, Katharine, look! thy son gave mine these wounds.", "BARABAS. Thus, like the sad-presaging raven, that tolls\n The sick man's passport in her hollow beak, [54]", "ABIGAIL. I sent for him; but, seeing you are come,\n Be you my ghostly father: and first know,\n That in this house I liv'd religiously,", "An infidel, and bring his gold into our treasury!\n But soft! is not this Barnardine? it is;\n And, understanding I should come this way,", "ABIGAIL. Who's that?\n\n BARABAS. Peace, Abigail! 'tis I.\n\n ABIGAIL. Then, father, here receive thy happiness.", "BARABAS. No, no:\n I drank of poppy and cold mandrake juice;\n And being asleep, belike they thought me dead,", "FRIAR BARNARDINE. O, monstrous villany!\n\n ABIGAIL. To work my peace, this I confess to thee:\n Reveal it not; for then my father dies." ], [ "[Footnote 159: Enter BARABAS: The scene certainly seems to be now the\ninterior of Barabas's house, notwithstanding what he presently", "ABIGAIL. Where, father?\n\n BARABAS. In my house, my girl.", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "[Footnote 105: Enter BARABAS: The scene is still within the house of\nBarabas; but some time is supposed to have elapsed since the\npreceding conference between Abigail and Friar Jacomo.]", "ACT I. [16]\n\n BARABAS discovered in his counting-house, with heaps\n of gold before him.", "Yet you do live, and live for me you shall:\n And as for Malta's ruin, think you not\n 'Twere slender policy for Barabas", "ITHAMORE. No, none can hear him, cry he ne'er so loud.\n\n BARABAS. Why, true; therefore did I place him there:\n The other chambers open towards the street.", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "town, as Barabas appears \"ABOVE,\"--in the balcony of a house.\n(He stood, of course, on what was termed the upper-stage.)", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "[Footnote 138: shall be done: Here a change of scene is supposed, to the\ninterior of Barabas's house.]", "[Footnote 53: Enter BARABAS, with a light: The scene is now before the\nhouse of Barabas, which has been turned into a nunnery.]", "And yet have kept enough to live upon;\n So that not he, but I, may curse the day,\n Thy fatal birth-day, forlorn Barabas;", "MERCHANT. Barabas, thy ships are safe,\n Riding in Malta-road; and all the merchants\n With other merchandise are safe arriv'd,", "Than many perish for a private man:\n Yet, Barabas, we will not banish thee,\n But here in Malta, where thou gott'st thy wealth,", "SECOND MERCHANT. Thine argosy from Alexandria,\n Know, Barabas, doth ride in Malta-road,\n Laden with riches, and exceeding store", "[Footnote 190: Thus hast thou gotten, &c.: A change of scene is supposed\nhere--to the Citadel, the residence of Barabas as governor.]", "And in the shadow of the silent night\n Doth shake contagion from her sable wings,\n Vex'd and tormented runs poor Barabas", "BARABAS. Haply for neither, but to pass along,\n Towards Venice, by the Adriatic sea,\n With whom they have attempted many times,\n But never could effect their stratagem.", "Within a town of war so lately pillag'd,\n Will be too costly and too troublesome:\n Yet would I gladly visit Barabas," ], [ "MACHIAVEL. Albeit the world think Machiavel is dead,\n Yet was his soul but flown beyond the Alps;", "But such as love me, guard me from their tongues,\n And let them know that I am Machiavel,\n And weigh not men, and therefore not men's words.", "Who liv'd in Malta: you shall find him still,\n In all his projects, a sound Machiavill;\n And that's his character. He that hath past", "And hold there is no sin but ignorance.\n Birds of the air will tell of murders past!\n I am asham'd to hear such fooleries.", "BARABAS. It's no sin to deceive a Christian;\n For they themselves hold it a principle,\n Faith is not to be held with heretics:", "MACHIAVEL as Prologue speaker.\n\n Scene, Malta.\n\n\n\n\n\nTHE JEW OF MALTA.", "Thus, loving neither, will I live with both,\n Making a profit of my policy;\n And he from whom my most advantage comes,\n Shall be my friend.", "Enter MACHIAVEL.", "Nor on his son but by Mathias' means;\n Nor on Mathias but by murdering me:\n But I perceive there is no love on earth,", "BARABAS. Ay, policy! that's their profession,\n And not simplicity, as they suggest.--\n The plagues of Egypt, and the curse of heaven,", "But malice, falsehood, and excessive pride,\n Which methinks fits not their profession.\n Haply some hapless man hath conscience,", "\"SATAN. What Vice?\n PUG. Why, any: Fraud,\n Or Covetousness, or LADY VANITY,\n Or old Iniquity.\"]", "And when we grin we bite; yet are our looks\n As innocent and harmless as a lamb's.\n I learn'd in Florence how to kiss my hand,", "And, Barabas, now search this secret out;\n Summon thy senses, call thy wits together:\n These silly men mistake the matter clean.", "What, if I murder'd him ere Jacomo comes?\n Now I have such a plot for both their lives,\n As never Jew nor Christian knew the like:", "BARABAS. Ay, mark him, you were best; for this is he\n That by my help shall do much villany.--\n [Aside.]", "[Footnote 103: sire: Old ed. \"sinne\" (which, modernised to \"sin\", the\neditors retain, among many other equally obvious errors of the\nold copy).]", "To Peter's chair; and, when they cast me off,\n Are poison'd by my climbing followers.\n I count religion but a childish toy,", "BARABAS. Let 'em suspect; but be thou so precise\n As they may think it done of holiness:\n Entreat 'em fair, and give them friendly speech,", "Slew friend and enemy with my stratagems:\n Then, after that, was I an usurer,\n And with extorting, cozening, forfeiting," ], [ "But Malta hates me, and, in hating me,\n My life's in danger; and what boots it thee,\n Poor Barabas, to be the governor,", "This is the reason that I sent for thee:\n Thou seest thy life and Malta's happiness\n Are at my arbitrement; and Barabas", "MESSENGER. From Barabas, Malta's governor, I bring\n A message unto mighty Calymath:\n Hearing his sovereign was bound for sea,", "BARABAS. For what, you men of Malta? hear me speak.\n She is a courtezan, and he a thief,", "And, Barabas, as erst we promis'd thee,\n For thy desert we make thee governor;\n Use them at thy discretion.", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "BARABAS. Governor, good words; be not so furious\n 'Tis not thy life which can avail me aught;", "Than many perish for a private man:\n Yet, Barabas, we will not banish thee,\n But here in Malta, where thou gott'st thy wealth,", "FERNEZE. This, Barabas; since things are in thy power,\n I see no reason but of Malta's wreck,", "BARABAS. Good sir,\n Your father has deserv'd it at my hands,\n Who, of mere charity and Christian ruth,", "FERNEZE. Why, Barabas, wilt thou be christened?\n\n BARABAS. No, governor, I will be no convertite. [39]", "BARABAS. What a slave's this! the governor feeds not as I do.\n [Aside.]\n\n ITHAMORE. He never put on clean shirt since he was circumcised.", "BARABAS. Then now are all things as my wish would have 'em;\n There wanteth nothing but the governor's pelf;\n And see, he brings it.\n\n Enter FERNEZE.", "BARABAS. Hum,--all the Jews in Malta must be there!\n Ay, like enough: why, then, let every man", "BARABAS. Go tell 'em the Jew of Malta sent thee, man:\n Tush, who amongst 'em knows not Barabas?\n\n MERCHANT. I go.", "BARABAS. Governor, presently;\n For Calymath, when he hath view'd the town,\n Will take his leave, and sail toward Ottoman.", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "Whenas [191] thy life shall be at their command?\n No, Barabas, this must be look'd into;\n And, since by wrong thou gott'st authority,", "BARABAS. O, heaven forbid I should have such a thought!\n Pardon me though I weep: the governor's son", "[Footnote 190: Thus hast thou gotten, &c.: A change of scene is supposed\nhere--to the Citadel, the residence of Barabas as governor.]" ], [ "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "BARABAS. How! half his estate!--I hope you mean not mine.\n [Aside.]\n\n FERNEZE. Read on.", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "ACT I. [16]\n\n BARABAS discovered in his counting-house, with heaps\n of gold before him.", "FIRST OFFICER.\n Here comes the Jew: had not his goods been seiz'd,\n He'd give us present money for them all.\n\n Enter BARABAS.", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. How, my lord! my money!\n\n FERNEZE. Thine and the rest;\n For, to be short, amongst you't must be had.", "And, Barabas, now search this secret out;\n Summon thy senses, call thy wits together:\n These silly men mistake the matter clean.", "BARABAS. O trusty Ithamore! no servant, but my friend!\n I here adopt thee for mine only heir:", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "BARABAS. So, then, there's somewhat come.--\n Sirrah, which of my ships art thou master of?\n\n MERCHANT. Of the Speranza, sir.", "BARABAS. Ay, but, Ithamore, seest thou this?\n It is a precious powder that I bought\n Of an Italian, in Ancona, once,", "BARABAS. Then now are all things as my wish would have 'em;\n There wanteth nothing but the governor's pelf;\n And see, he brings it.\n\n Enter FERNEZE.", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. So that of thus much that return was made;\n And of the third part of the Persian ships\n There was the venture summ'd and satisfied.", "BARABAS. Help, help me, Christians, help!\n\n FERNEZE. See, Calymath! this was devis'd for thee." ], [ "MATHIAS. Farewell, Lodowick.\n [Exeunt severally.]\n\n\n\n\nACT II.", "MATHIAS. I must and will, sir; there's no remedy.\n\n LODOWICK. And so will I too, or it shall go hard.\n Farewell, Mathias.", "MATHIAS. O treacherous Lodowick!\n\n BARABAS. Even now, as I came home, he slipt me in,\n And I am sure he is with Abigail.", "MATHIAS. What make the Jew and Lodowick so private?\n I fear me 'tis about fair Abigail.\n [Aside.]", "MATHIAS. Believe me, noble Lodowick, I have seen\n The strangest sight, in my opinion,\n That ever I beheld.", "MATHIAS. What greater gift can poor Mathias have?\n Shall Lodowick rob me of so fair a love?\n My life is not so dear as Abigail.", "That by my favour they should both be slain?\n Admit thou lov'dst not Lodowick for his sire, [103]\n Yet Don Mathias ne'er offended thee:", "Enter LODOWICK.\n\n LODOWICK. Why, how now, Don Mathias! in a dump?", "to Mathia[s];\n And then they met, [and], as the story says,\n In doleful wise they ended both their days.", "Re-enter LODOWICK and ABIGAIL.\n\n MATHIAS. What, hand in hand! I cannot suffer this.", "LODOWICK. Why, loves she Don Mathias?\n\n BARABAS. Doth she not with her smiling answer you?", "FRIAR BARNARDINE. Ay, but, Barabas,\n Remember Mathias and Don Lodowick.\n\n BARABAS. Why, what of them?", "BARABAS. [to LODOWICK.] Yonder comes Don Mathias; let us stay: [76]\n He loves my daughter, and she holds him dear;", "LODOWICK. But say, what was she?\n\n MATHIAS. Why, the rich Jew's daughter.", "LODOWICK. I did it; and revenge it, if thou dar'st!\n [They fight.]\n\n Enter BARABAS above.", "BARABAS. Ay, so thou shalt; 'tis thou must do the deed:\n Take this, and bear it to Mathias straight,\n [Giving a letter.]\n And tell him that it comes from Lodowick.", "LODOWICK. Well, let him go.\n [Exit.]", "Re-enter MATHIAS.\n\n BARABAS. Be quiet, Lodowick; it is enough\n That I have made thee sure to Abigail.", "LODOWICK. My death! what, is the base-born peasant mad?", "MATHIAS. But wherefore talk'd Don Lodowick with you?\n\n BARABAS. Tush, man! we talk'd of diamonds, not of Abigail." ], [ "ABIGAIL. Well, Ithamore, let me request thee this;\n Go to the new-made nunnery, and inquire", "FRIAR JACOMO. Wherein?\n\n ABIGAIL. To get me be admitted for a nun.", "ABIGAIL. Father, it draweth towards midnight now,\n And 'bout this time the nuns begin to wake;\n To shun suspicion, therefore, let us part.", "ABIGAIL. That may they not;\n For there I left the governor placing nuns,\n Displacing me; and of thy house they mean", "BARABAS. Then, Abigail, there must my girl\n Entreat the abbess to be entertain'd.\n\n ABIGAIL. How! as a nun?", "ABIGAIL. My father did contract me to 'em both;\n First to Don Lodowick: him I never lov'd;\n Mathias was the man that I held dear,\n And for his sake did I become a nun.", "BARABAS. Why, made mine Abigail a nun.\n\n ITHAMORE. That's no lie; for she sent me for him.", "BARABAS. Why, so.\n Then thus: thou told'st me they have turn'd my house\n Into a nunnery, and some nuns are there?\n\n ABIGAIL. I did.", "BARABAS. What, Abigail become a nun again!\n False and unkind! what, hast thou lost thy father?", "Now shalt thou see the death of Abigail,\n That thou mayst freely live to be my heir.", "ABIGAIL. Fearing the afflictions which my father feels\n Proceed from sin or want of faith in us,\n I'd pass away my life in penitence,", "[ABIGAIL comes forward.]\n\n ABIGAIL. Grave abbess, and you happy virgins' guide,\n Pity the state of a distressed maid!", "FRIAR JACOMO. And so did fair Maria send for me:\n I'll to her lodging; hereabouts she lies.\n [Exit.]\n\n Enter ABIGAIL.", "ABIGAIL. So I have heard; pray, therefore, keep it close.\n Death seizeth on my heart: ah, gentle friar,", "ABIGAIL. I know not: but farewell; I must be gone.\n\n BARABAS. Stay her, but let her not speak one word more.", "ABIGAIL. And I shall die too, for I feel death coming.\n Where is the friar that convers'd with me? [121]", "FRIAR BARNARDINE. O, monstrous villany!\n\n ABIGAIL. To work my peace, this I confess to thee:\n Reveal it not; for then my father dies.", "FRIAR JACOMO. Why, Abigail, it is not yet long since\n That I did labour thy admission,\n And then thou didst not like that holy life.", "ABIGAIL. The abbess of the house,\n Whose zealous admonition I embrace:\n O, therefore, Jacomo, let me be one,\n Although unworthy, of that sisterhood!", "ABIGAIL. O wretched Abigail, what hast thou [89] done?\n [Aside.]\n\n LODOWICK. Why on the sudden is your colour chang'd?" ], [ "BARABAS. Why, so.\n Then thus: thou told'st me they have turn'd my house\n Into a nunnery, and some nuns are there?\n\n ABIGAIL. I did.", "BARABAS. Thou shalt not need; for, now the nuns are dead,\n They'll die with grief.\n\n ITHAMORE. Do you not sorrow for your daughter's death?", "[Footnote 53: Enter BARABAS, with a light: The scene is now before the\nhouse of Barabas, which has been turned into a nunnery.]", "BARABAS. Then, Abigail, there must my girl\n Entreat the abbess to be entertain'd.\n\n ABIGAIL. How! as a nun?", "BARABAS. Why, made mine Abigail a nun.\n\n ITHAMORE. That's no lie; for she sent me for him.", "BARABAS. There is no music to [126] a Christian's knell:\n How sweet the bells ring, now the nuns are dead,", "BARABAS. As for myself, I walk abroad o' nights,\n And kill sick people groaning under walls:\n Sometimes I go about and poison wells;", "BARABAS. What, Abigail become a nun again!\n False and unkind! what, hast thou lost thy father?", "I hope the poison'd flowers will work anon.\n [Aside.]\n [Exeunt OFFICERS with BARABAS and ITHAMORE; BELLAMIRA,", "BARABAS. So, now I am reveng'd upon 'em all:\n The scent thereof was death; I poison'd it.\n [Aside.]", "FRIAR JACOMO. Good sirs, I have done't: but nobody knows it but\n you two; I may escape.\n\n BARABAS. So might my man and I hang with you for company.", "BARABAS. Help, help me, Christians, help!\n\n FERNEZE. See, Calymath! this was devis'd for thee.", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "BARABAS. I must make this villain away [Aside].--Please you dine\n with me, sir--and you shall be most heartily poisoned.\n [Aside.]", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. No, no:\n I drank of poppy and cold mandrake juice;\n And being asleep, belike they thought me dead,", "BARABAS. As much, I hope, as all I hid is worth.\n [Aside.]\n\n ABBESS. Come, daughter, follow us.", "And in the shadow of the silent night\n Doth shake contagion from her sable wings,\n Vex'd and tormented runs poor Barabas", "BARABAS. This is mere frailty: brethren, be content.--\n Friar Barnardine, go you with Ithamore:\n You know my mind; let me alone with him.", "BARABAS. You see I answer him, and yet he stays;\n Rid him away, and go you home with me.\n\n FRIAR JACOMO. I'll be with you to-night." ], [ "FRIAR JACOMO. Good sirs, I have done't: but nobody knows it but\n you two; I may escape.\n\n BARABAS. So might my man and I hang with you for company.", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience\nwere to suppose that Barabas had been thrown over the walls, and\nthat the stage now represented the outside of the city.]", "BARABAS. Ay, fare you well.\n [Exeunt three JEWS.] [42]\n See the simplicity of these base slaves,", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "[Cries within] Part 'em, part 'em!\n\n BARABAS. Ay, part 'em now they are dead. Farewell, farewell!\n [Exit above.]", "BARABAS. Away! no more; let him not trouble me.\n [Exeunt TURKS with FERNEZE and KNIGHTS.]", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "FIRST OFFICER. My lord, the courtezan and her man are dead;\n So is the Turk and Barabas the Jew.\n\n FERNEZE. Dead!", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. And the horse-pestilence to boot: away!\n\n ITHAMORE. I am gone:\n Pay me my wages, for my work is done.\n [Exit with the pot.]", "BARABAS. No, no:\n I drank of poppy and cold mandrake juice;\n And being asleep, belike they thought me dead,", "BARABAS. How! half his estate!--I hope you mean not mine.\n [Aside.]\n\n FERNEZE. Read on.", "BARABAS. You see I answer him, and yet he stays;\n Rid him away, and go you home with me.\n\n FRIAR JACOMO. I'll be with you to-night.", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. Governor, good words; be not so furious\n 'Tis not thy life which can avail me aught;" ], [ "This is the reason that I sent for thee:\n Thou seest thy life and Malta's happiness\n Are at my arbitrement; and Barabas", "Than many perish for a private man:\n Yet, Barabas, we will not banish thee,\n But here in Malta, where thou gott'st thy wealth,", "BARABAS. For what, you men of Malta? hear me speak.\n She is a courtezan, and he a thief,", "FERNEZE. This, Barabas; since things are in thy power,\n I see no reason but of Malta's wreck,", "But Malta hates me, and, in hating me,\n My life's in danger; and what boots it thee,\n Poor Barabas, to be the governor,", "Yet you do live, and live for me you shall:\n And as for Malta's ruin, think you not\n 'Twere slender policy for Barabas", "And, Barabas, as erst we promis'd thee,\n For thy desert we make thee governor;\n Use them at thy discretion.", "BARABAS. Go tell 'em the Jew of Malta sent thee, man:\n Tush, who amongst 'em knows not Barabas?\n\n MERCHANT. I go.", "SECOND MERCHANT. Thine argosy from Alexandria,\n Know, Barabas, doth ride in Malta-road,\n Laden with riches, and exceeding store", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. Thus, Ithamore:\n This even they use in Malta here,--'tis call'd", "BARABAS. Hum,--all the Jews in Malta must be there!\n Ay, like enough: why, then, let every man", "MERCHANT. Barabas, thy ships are safe,\n Riding in Malta-road; and all the merchants\n With other merchandise are safe arriv'd,", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "As all the wealth of Malta cannot pay;\n And now by that advantage thinks, belike,\n To seize upon the town; ay, that he seeks.", "ABIGAIL. I'll make 'em friends again.\n\n BARABAS.\n You'll make 'em friends! are there not Jews enow in Malta,\n But thou must dote upon a Christian?", "BARABAS. Not for all Malta; therefore sheathe your sword;\n If you love me, no quarrels in my house;", "BARABAS. Good sir,\n Your father has deserv'd it at my hands,\n Who, of mere charity and Christian ruth,", "BARABAS. Come, then; here's the market-place.--\n What's the price of this slave? two hundred crowns! do the Turks\n weigh so much?" ], [ "Amount to more than all the wealth in Malta:\n And of the other we have seized half.", "As all the wealth of Malta cannot pay;\n And now by that advantage thinks, belike,\n To seize upon the town; ay, that he seeks.", "Myself in Malta, some in Italy,\n Many in France, and wealthy every one;\n Ay, wealthier far than any Christian.", "Than many perish for a private man:\n Yet, Barabas, we will not banish thee,\n But here in Malta, where thou gott'st thy wealth,", "With all the Jews in Malta: but what is wealth?\n I am a Jew, and therefore am I lost.\n Would penance serve [to atone] for this my sin,", "SECOND MERCHANT. Thine argosy from Alexandria,\n Know, Barabas, doth ride in Malta-road,\n Laden with riches, and exceeding store", "Thus hast thou gotten, [190] by thy policy,\n No simple place, no small authority:\n I now am governor of Malta; true,--", "FERNEZE. Desire of gold, great sir!\n That's to be gotten in the Western Inde:\n In Malta are no golden minerals.", "To dispossess himself of such a place?\n For sith, [193] as once you said, within this isle,\n In Malta here, that I have got my goods,", "Know, therefore, till thy father hath made good\n The ruins done to Malta and to us,\n Thou canst not part; for Malta shall be freed,", "More wealth by far than those that brag of faith:\n There's Kirriah Jairim, the great Jew of Greece,\n Obed in Bairseth, Nones in Portugal,", "Long to the Turk did Malta contribute;\n Which tribute all in policy, I fear,\n The Turk has [30] let increase to such a sum", "MARTIN DEL BOSCO. Governor of Malta, hither am I bound;\n My ship, the Flying Dragon, is of Spain,", "To rescue thee, so will we guard us now,\n As sooner shall they drink the ocean dry,\n Than conquer Malta, or endanger us.", "And turn proud Malta to a wilderness,\n For these intolerable wrongs of yours:\n And so, farewell.", "This is the reason that I sent for thee:\n Thou seest thy life and Malta's happiness\n Are at my arbitrement; and Barabas", "But Malta hates me, and, in hating me,\n My life's in danger; and what boots it thee,\n Poor Barabas, to be the governor,", "Bosco, thou shalt be Malta's general;\n We and our warlike knights will follow thee\n Against these barbarous misbelieving Turks.", "BARABAS. Thus, Ithamore:\n This even they use in Malta here,--'tis call'd", "BASSO. To you of Malta thus saith Calymath:\n The time you took for respite is at hand\n For the performance of your promise pass'd;\n And for the tribute-money I am sent." ], [ "ITHAMORE. Faith, master,\n In setting Christian villages on fire,\n Chaining of eunuchs, binding galley-slaves.", "ITHAMORE. I carried the broth that poisoned the nuns; and he\n and I, snicle hand too fast, strangled a friar. [172]", "ITHAMORE.\n Look, look, master; here come two religious caterpillars.\n\n Enter FRIAR JACOMO and FRIAR BARNARDINE.", "ITHAMORE. Fie upon 'em! master, will you turn Christian, when\n holy friars turn devils and murder one another?", "ITHAMORE. You knew Mathias and the governor's son; he and I\n killed 'em both, and yet never touched 'em.\n\n PILIA-BORZA. O, bravely done!", "ITHAMORE. Rather for fear than love.", "ITHAMORE. And reason too.\n But here's a royal monastery hard by;\n Good master, let me poison all the monks.", "ITHAMORE. Faith, sir, my birth is but mean; my name's Ithamore;\n my profession what you please.", "ITHAMORE. 'Tis a strange thing of that Jew, he lives upon\n pickled grasshoppers and sauced mushrooms. [175]", "ITHAMORE. The meaning has a meaning. Come, let's in:\n To undo a Jew is charity, and not sin.\n [Exeunt.]", "ITHAMORE. Ay, and such as--go to, no more! I'll make him [153]", "ITHAMORE. I scorn the peasant: tell him so.\n\n BARABAS. He knows it already.\n [Aside.]", "ITHAMORE. And so could I; but penance will not serve.", "ITHAMORE. I hold my head, my master's hungry [Aside].--I go, sir.\n [Exit.]", "Pity in Jews, nor piety in Turks.--\n But here comes cursed Ithamore with the friar.", "ITHAMORE. The hat he wears, Judas left under the elder when he\n hanged himself. [176]", "ITHAMORE. Guilty, my lord, I confess. Your son and Mathias\n were both contracted unto Abigail: [he] forged a counterfeit\n challenge.", "ITHAMORE. O, master, that I might have a hand in this!", "ITHAMORE. Why, know you not?\n\n ABIGAIL. Why, no.", "ITHAMORE. Ay, master, he's slain; look how his brains drop out\n on's [144] nose." ], [ "Here comes Don Lodowick, the governor's son,\n One that I love for his good father's sake.", "And in the fury of thy torments strive\n To end thy life with resolution.--\n Know, governor, 'twas I that slew thy son,--", "LODOWICK. Barabas, thou know'st I am the governor's son.", "BARABAS. Give me the letters.--Daughter, do you hear?\n Entertain Lodowick, the governor's son,\n With all the courtesy you can afford,", "ITHAMORE. You knew Mathias and the governor's son; he and I\n killed 'em both, and yet never touched 'em.\n\n PILIA-BORZA. O, bravely done!", "BELLAMIRA. Whate'er I am, yet, governor, hear me speak:\n I bring thee news by whom thy son was slain:\n Mathias did it not; it was the Jew.", "[Footnote 34: governor: Old ed. \"Gouernours\" here, and several times\nafter in this scene.]", "And in this city still have had success,\n And now at length am grown your governor,\n Yourselves shall see it shall not be forgot;", "But I have sworn to frustrate both their hopes,\n And be reveng'd upon the--governor.\n [Aside.]\n [Exit LODOWICK.]", "KATHARINE. Thy son slew mine, and I'll revenge his death.\n\n FERNEZE. Look, Katharine, look! thy son gave mine these wounds.", "Enter KATHARINE.\n\n KATHARINE. Was my Mathias murder'd by the Jew?\n Ferneze, 'twas thy son that murder'd him.", "But thou wert set upon extreme revenge,\n Because the prior dispossess'd thee once,\n And couldst not venge it but upon his son;", "BARABAS. What a slave's this! the governor feeds not as I do.\n [Aside.]\n\n ITHAMORE. He never put on clean shirt since he was circumcised.", "And, Barabas, as erst we promis'd thee,\n For thy desert we make thee governor;\n Use them at thy discretion.", "Take my goods too, and seize upon my lands.\n I hope to see the governor a slave,\n And, rowing in a galley, whipt to death.", "FERNEZE, governor of Malta.\n LODOWICK, his son.\n SELIM CALYMATH, son to the Grand Seignior.", "And, now the Guise [11] is dead, is come from France,\n To view this land, and frolic with his friends.\n To some perhaps my name is odious;", "That on the sudden shall dissever it,\n And batter all the stones about their ears,\n Whence none can possibly escape alive:\n Now, as for Calymath and his consorts,", "FERNEZE. Nay, madam, stay; that weapon was my son's,\n And on that rather should Ferneze die.", "KATHARINE. Who is this? my son Mathias slain!" ], [ "LODOWICK. I did it; and revenge it, if thou dar'st!\n [They fight.]\n\n Enter BARABAS above.", "LODOWICK. Well, let him go.\n [Exit.]", "LODOWICK. My death! what, is the base-born peasant mad?", "LODOWICK. No doubt your soul shall reap the fruit of it.", "Enter LODOWICK.", "Here comes Don Lodowick, the governor's son,\n One that I love for his good father's sake.", "This gentle maggot, Lodowick, I mean,\n Must be deluded: let him have thy hand,\n But keep thy heart till Don Mathias comes.", "Enter LODOWICK. [82]\n\n LODOWICK. O, Barabas, well met;\n Where is the diamond you told me of?", "LODOWICK. Barabas, is not that the widow's son?\n\n BARABAS. Ay, and take heed, for he hath sworn your death.", "LODOWICK. But say, what was she?\n\n MATHIAS. Why, the rich Jew's daughter.", "Be true and secret; thou shalt want no gold.\n But stand aside; here comes Don Lodowick.", "LODOWICK. I hear the wealthy Jew walked this way:\n I'll seek him out, and so insinuate,\n That I may have a sight of Abigail,\n For Don Mathias tells me she is fair.", "LODOWICK. O, is't the custom? then I am resolv'd: [90]\n But rather let the brightsome heavens be dim,", "[Aside.]\n Lord Lodowick, it sparkles bright and fair.", "That by my favour they should both be slain?\n Admit thou lov'dst not Lodowick for his sire, [103]\n Yet Don Mathias ne'er offended thee:", "LODOWICK. Why, loves she Don Mathias?\n\n BARABAS. Doth she not with her smiling answer you?", "MATHIAS. What make the Jew and Lodowick so private?\n I fear me 'tis about fair Abigail.\n [Aside.]", "[Footnote 82: Enter LODOWICK: A change of scene supposed here,--to the\noutside of Barabas's house.]", "MATHIAS. Farewell, Lodowick.\n [Exeunt severally.]\n\n\n\n\nACT II.", "MATHIAS. O treacherous Lodowick!\n\n BARABAS. Even now, as I came home, he slipt me in,\n And I am sure he is with Abigail." ], [ "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. Why, know you what you did by this device?\n Half of my substance is a city's wealth.\n Governor, it was not got so easily;\n Nor will I part so slightly therewithal.", "BARABAS. How! half his estate!--I hope you mean not mine.\n [Aside.]\n\n FERNEZE. Read on.", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. You see I answer him, and yet he stays;\n Rid him away, and go you home with me.\n\n FRIAR JACOMO. I'll be with you to-night.", "BARABAS. So that of thus much that return was made;\n And of the third part of the Persian ships\n There was the venture summ'd and satisfied.", "FIRST OFFICER.\n Here comes the Jew: had not his goods been seiz'd,\n He'd give us present money for them all.\n\n Enter BARABAS.", "BARABAS. Help, help me, Christians, help!\n\n FERNEZE. See, Calymath! this was devis'd for thee.", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. How, my lord! my money!\n\n FERNEZE. Thine and the rest;\n For, to be short, amongst you't must be had.", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of", "BARABAS. Nay, do thou this, Ferneze, and be free:\n Governor, I enlarge thee; live with me;", "BARABAS. Then now are all things as my wish would have 'em;\n There wanteth nothing but the governor's pelf;\n And see, he brings it.\n\n Enter FERNEZE.", "BARABAS. So, then, there's somewhat come.--\n Sirrah, which of my ships art thou master of?\n\n MERCHANT. Of the Speranza, sir.", "And, Barabas, now search this secret out;\n Summon thy senses, call thy wits together:\n These silly men mistake the matter clean.", "BARABAS. And, villains, know you cannot help me now.--\n Then, Barabas, breathe forth thy latest fate,", "BARABAS. O trusty Ithamore! no servant, but my friend!\n I here adopt thee for mine only heir:" ], [ "BARABAS. Come, then; here's the market-place.--\n What's the price of this slave? two hundred crowns! do the Turks\n weigh so much?", "SLAVE. Alas, sir, I am a very youth!\n\n BARABAS. A youth! I'll buy you, and marry you to Lady Vanity, [74]\n if you do well.", "FERNEZE. Martin del Bosco, I have heard of thee:\n Welcome to Malta, and to all of us!\n But to admit a sale of these thy Turks,", "It shall go hard but I will see your death.--\n [Aside.]\n But now I must be gone to buy a slave.", "The captain's slain; the rest remain our slaves,\n Of whom we would make sale in Malta here.", "BARABAS. The very same, my lord:\n And since that time they have hir'd a slave, my man,\n To accuse me of a thousand villanies:", "BARABAS. Why should this Turk be dearer than that Moor?\n\n FIRST OFFICER. Because he is young, and has more qualities.", "SLAVE. Ay, passing well.", "Wherein the Turk hath yok'd your land and you?\n What will you give me if I render you\n The life of Calymath, surprise his men,", "BARABAS. Ay, but, Ithamore, seest thou this?\n It is a precious powder that I bought\n Of an Italian, in Ancona, once,", "FERNEZE. On this condition shall thy Turks be sold.--\n Go, officers, and set them straight in show.--\n [Exeunt OFFICERS.]", "And, after that, I and my trusty Turk--\n No more, but so: it must and shall be done. [138]", "BARABAS. What a slave's this! the governor feeds not as I do.\n [Aside.]\n\n ITHAMORE. He never put on clean shirt since he was circumcised.", "I had at home, and in mine argosy,\n And other ships that came from Egypt last,\n As much as would have bought his beasts and him,", "FIRST KNIGHT. Rather than thus to live as Turkish thralls,\n What will we not adventure?\n\n FERNEZE. On, then; be gone.", "SECOND MERCHANT. Sir, we were wafted by a Spanish fleet,\n That never left us till within a league,\n That had the galleys of the Turk in chase.", "Because we vail'd not [62] to the Turkish [63] fleet,\n Their creeping galleys had us in the chase:\n But suddenly the wind began to rise,", "ITHAMORE. Faith, master, I think by this\n You purchase both their lives: is it not so?\n\n BARABAS. True; and it shall be cunningly perform'd.", "He sent a shaggy, tatter'd, [160] staring slave,\n That, when he speaks, draws out his grisly beard,\n And winds it twice or thrice about his ear;", "PILIA-BORZA. That such a base slave as he should be saluted by\n such a tall [146] man as I am, from such a beautiful dame as you." ], [ "MATHIAS. Farewell, Lodowick.\n [Exeunt severally.]\n\n\n\n\nACT II.", "MATHIAS. What make the Jew and Lodowick so private?\n I fear me 'tis about fair Abigail.\n [Aside.]", "MATHIAS. I must and will, sir; there's no remedy.\n\n LODOWICK. And so will I too, or it shall go hard.\n Farewell, Mathias.", "That by my favour they should both be slain?\n Admit thou lov'dst not Lodowick for his sire, [103]\n Yet Don Mathias ne'er offended thee:", "LODOWICK. I did it; and revenge it, if thou dar'st!\n [They fight.]\n\n Enter BARABAS above.", "MATHIAS. What greater gift can poor Mathias have?\n Shall Lodowick rob me of so fair a love?\n My life is not so dear as Abigail.", "MATHIAS. Believe me, noble Lodowick, I have seen\n The strangest sight, in my opinion,\n That ever I beheld.", "MATHIAS. O treacherous Lodowick!\n\n BARABAS. Even now, as I came home, he slipt me in,\n And I am sure he is with Abigail.", "LODOWICK. But say, what was she?\n\n MATHIAS. Why, the rich Jew's daughter.", "Re-enter LODOWICK and ABIGAIL.\n\n MATHIAS. What, hand in hand! I cannot suffer this.", "Enter LODOWICK.\n\n LODOWICK. Why, how now, Don Mathias! in a dump?", "LODOWICK. Why, loves she Don Mathias?\n\n BARABAS. Doth she not with her smiling answer you?", "BARABAS. [to LODOWICK.] Yonder comes Don Mathias; let us stay: [76]\n He loves my daughter, and she holds him dear;", "FRIAR BARNARDINE. Ay, but, Barabas,\n Remember Mathias and Don Lodowick.\n\n BARABAS. Why, what of them?", "MATHIAS. But wherefore talk'd Don Lodowick with you?\n\n BARABAS. Tush, man! we talk'd of diamonds, not of Abigail.", "Enter MATHIAS.\n\n Whither goes Don Mathias? stay a while.\n\n MATHIAS. Whither, but to my fair love Abigail?", "Re-enter MATHIAS.\n\n BARABAS. Be quiet, Lodowick; it is enough\n That I have made thee sure to Abigail.", "LODOWICK. Well, let him go.\n [Exit.]", "LODOWICK. My death! what, is the base-born peasant mad?", "ABIGAIL. My father did contract me to 'em both;\n First to Don Lodowick: him I never lov'd;\n Mathias was the man that I held dear,\n And for his sake did I become a nun." ], [ "ABIGAIL. Where, father?\n\n BARABAS. In my house, my girl.", "ABIGAIL. I know not: but farewell; I must be gone.\n\n BARABAS. Stay her, but let her not speak one word more.", "ABIGAIL. Then shall they ne'er be seen of Barabas;\n For they have seiz'd upon thy house and wares.", "ABIGAIL. Nor for myself, but aged Barabas,\n Father, for thee lamenteth Abigail:\n But I will learn to leave these fruitless tears;", "BARABAS. O unhappy day!\n False, credulous, inconstant Abigail!\n But let 'em go: and, Ithamore, from hence", "ABIGAIL. Hard-hearted father, unkind Barabas!\n Was this the pursuit of thy policy,\n To make me shew them favour severally,", "BARABAS. Then, Abigail, there must my girl\n Entreat the abbess to be entertain'd.\n\n ABIGAIL. How! as a nun?", "BARABAS. Why, made mine Abigail a nun.\n\n ITHAMORE. That's no lie; for she sent me for him.", "ABIGAIL. Nay, you shall pardon me.--O Barabas,\n Though thou deservest hardly at my hands,\n Yet never shall these lips bewray thy life!\n [Aside.]", "BARABAS. Why, so.\n Then thus: thou told'st me they have turn'd my house\n Into a nunnery, and some nuns are there?\n\n ABIGAIL. I did.", "LODOWICK. Yond' walks the Jew: now for fair Abigail.\n\n BARABAS. Ay, ay, no doubt but she's at your command.\n [Aside.]", "BARABAS. Ay, daughter; for religion\n Hides many mischiefs from suspicion.\n\n ABIGAIL. Ay, but, father, they will suspect me there.", "BARABAS. I have it for you, sir: please you walk in with me.--\n What, ho, Abigail! open the door, I say!\n\n Enter ABIGAIL, with letters.", "[Footnote 105: Enter BARABAS: The scene is still within the house of\nBarabas; but some time is supposed to have elapsed since the\npreceding conference between Abigail and Friar Jacomo.]", "ABIGAIL. I cannot take my leave of him for tears.\n Father, why have you thus incens'd them both?\n\n BARABAS. What's that to thee?", "BARABAS. Farewell, my joy, and by my fingers take\n A kiss from him that sends it from his soul.\n [Exit ABIGAIL above.]", "BARABAS. No, Abigail, in this\n It is not necessary I be seen;\n For I will seem offended with thee for't:", "BARABAS. [coming forward] Why, how now, Abigail!\n What mak'st thou 'mongst these hateful Christians?", "BARABAS. What, Abigail become a nun again!\n False and unkind! what, hast thou lost thy father?", "BARABAS. As much, I hope, as all I hid is worth.\n [Aside.]\n\n ABBESS. Come, daughter, follow us." ], [ "And in the shadow of the silent night\n Doth shake contagion from her sable wings,\n Vex'd and tormented runs poor Barabas", "BARABAS. Do so; but fail not: now farewell, Ferneze:--\n [Exit FERNEZE.]\n And thus far roundly goes the business:", "FRIAR BARNARDINE. Barabas, thou hast--\n\n FRIAR JACOMO. Ay, that thou hast--", "BARABAS. Yes, my good lord, one that can spy a place\n Where you may enter, and surprize the town:\n My name is Barabas; I am a Jew.", "BARABAS. Then 'tis not for me; and I am resolv'd\n You shall confess me, and have all my goods.\n\n FRIAR JACOMO. Good Barabas, come to me.", "BARABAS. Good sir,\n Your father has deserv'd it at my hands,\n Who, of mere charity and Christian ruth,", "BARABAS. The very same, my lord:\n And since that time they have hir'd a slave, my man,\n To accuse me of a thousand villanies:", "BARABAS. I know that I have highly sinn'd:\n You shall convert me, you shall have all my wealth.\n\n FRIAR JACOMO. O Barabas, their laws are strict!", "BARABAS. As for myself, I walk abroad o' nights,\n And kill sick people groaning under walls:\n Sometimes I go about and poison wells;", "[Footnote 159: Enter BARABAS: The scene certainly seems to be now the\ninterior of Barabas's house, notwithstanding what he presently", "BARABAS. Well, then, my lord, say, are you satisfied?\n You have my goods, my money, and my wealth,", "BARABAS. So much the better; thou art for my turn.\n An hundred crowns? I'll have him; there's the coin.\n [Gives money.]", "BARABAS. I have it for you, sir: please you walk in with me.--\n What, ho, Abigail! open the door, I say!\n\n Enter ABIGAIL, with letters.", "BARABAS. Why, this is something: make account of me\n As of thy fellow; we are villains both;\n Both circumcised; we hate Christians both:", "BARABAS. How, my lord! my money!\n\n FERNEZE. Thine and the rest;\n For, to be short, amongst you't must be had.", "BARABAS. A friar! false villain, he hath done the deed.\n\n ITHAMORE. How, sir!", "ABIGAIL. Nay, you shall pardon me.--O Barabas,\n Though thou deservest hardly at my hands,\n Yet never shall these lips bewray thy life!\n [Aside.]", "FRIAR JACOMO. Good sirs, I have done't: but nobody knows it but\n you two; I may escape.\n\n BARABAS. So might my man and I hang with you for company.", "BARABAS. Let 'em suspect; but be thou so precise\n As they may think it done of holiness:\n Entreat 'em fair, and give them friendly speech,", "[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's\nhouse,--the audience having had to SUPPOSE that the body of" ], [ "ITHAMORE. Ay, master, he's slain; look how his brains drop out\n on's [144] nose.", "ITHAMORE. You knew Mathias and the governor's son; he and I\n killed 'em both, and yet never touched 'em.\n\n PILIA-BORZA. O, bravely done!", "ITHAMORE. I carried the broth that poisoned the nuns; and he\n and I, snicle hand too fast, strangled a friar. [172]", "ITHAMORE. I never knew a man take his death so patiently as\n this friar; he was ready to leap off ere the halter was about", "ITHAMORE. Ay, and our lives too:--therefore pull amain.\n [They strangle the FRIAR.]\n 'Tis neatly done, sir; here's no print at all.", "ITHAMORE. Guilty, my lord, I confess. Your son and Mathias\n were both contracted unto Abigail: [he] forged a counterfeit\n challenge.", "ITHAMORE. Ay, and such as--go to, no more! I'll make him [153]", "ITHAMORE. Why, a Turk could ha' done no more.", "ABIGAIL. And was my father furtherer of their deaths?\n\n ITHAMORE. Am I Ithamore?\n\n ABIGAIL. Yes.", "ITHAMORE. O, master, that I might have a hand in this!", "ITHAMORE. Nay, master, be ruled by me a little. [Takes the body,\n sets it upright against the wall, and puts a staff in its hand.]", "ITHAMORE. I hold my head, my master's hungry [Aside].--I go, sir.\n [Exit.]", "ITHAMORE. And so could I; but penance will not serve.", "ITHAMORE.\n Know you not of Mathia[s'] and Don Lodowick['s] disaster?\n\n ABIGAIL. No: what was it?", "ITHAMORE. Fear not; I will so set his heart a-fire,\n That he shall verily think it comes from him.", "ITHAMORE. Faith, sir, my birth is but mean; my name's Ithamore;\n my profession what you please.", "ITHAMORE. And reason too.\n But here's a royal monastery hard by;\n Good master, let me poison all the monks.", "ITHAMORE. 'Tis a strange thing of that Jew, he lives upon\n pickled grasshoppers and sauced mushrooms. [175]", "ITHAMORE. Well, master, I go.", "ITHAMORE. Now am I clean, or rather foully, out of the way.\n [Aside.]\n\n BELLAMIRA. Whither so soon?" ] ]

[ "Whom takes all of Barabas's wealth?", "Abigail his what to Barabas?", "Lodowick and Mathias die in a duel over whom?", "Why does Barabas and Ithamore kill Abigail?", "Barabas is awarded governorship of what city?", "How does Barabas escape execution?", "Who kills Barabas?", "Ithamore is what sort of slave?", "How does Barabas trick Lodowick and Mathias into fighting?", "What is the name of the Senecan ghost?", "Where does Barabas live?", "What does Machiavel call a sin?", "Why is Barabas angry at the Maltese governor?", "Who helps Barabas recover some of his assets?", "How does Lodowick and Mathias die?", "What happens to Abigail after she is consigned to a nunnery?", "Who helps Barabas poison the nuns?", "How does Barabas escape execution?", "What is the reward to Barabas for helping the Turkish army sack Malta?", "Who owns more wealth than Malta?", "Ithamore hates what religious group?", "Who is the governor's son?", "Who is Lodowick's friend that he duels with?", "Who helps Barabas get back some of his assets?", "What is the name of the Turkish slave that is purchased?", "Why did Lodowick and Mathias fight each other?", "Where does Abigail go when she learns of Barabas' scheme?", "Who blackmails Barabas?", "How does Ithamore die?" ]

[ [ "The Maltese governor.", "Maltese governor" ], [ "Daughter", "His daughter" ], [ "Abigail", "Abigail" ], [ "For becoming a Christian.", "she became a Christian" ], [ "Malta", "Malta" ], [ "By pretending to be dead.", "feigning death" ], [ "The Maltese.", "The Maltese " ], [ "Turkish slave.", "Turkish." ], [ "He uses Abigail's beauty.", "He uses his daughter's beauty to provoke a fight." ], [ "Machiavel", "Machiavel" ], [ "Malta", "Malta" ], [ "Ignorance.", "ignorance" ], [ "Barabas believes the governor has robbed him of his wealth.", "He robbed him." ], [ "His daughter, Abigail.", "Abigail" ], [ "After a duel.", "They kill each other in a duel." ], [ "She is poisoned.", "She is poisoned." ], [ "Ithamore", "Ithamore." ], [ "He feigns his death.", "feigning death" ], [ "He is given governorship of the city.", "Governorship of the city." ], [ "Barabas", "Barabas" ], [ "Christians", "Christians" ], [ "Lodowick", "Lodowick." ], [ "Mathias", "Mathias." ], [ "Abigail", "Abigail" ], [ "Ithamore", "Ithamore" ], [ "Over the affection of Abigail", "They fight over Barabas's daughter." ], [ "To a nunnery", "a nunnery" ], [ "Ithamore", "Ithamore" ], [ "Barabas poisons him", "Poisoning" ] ]

[ [ "NATALIE\n You've been let go.\n \n RYAN\n Why?", "Wichita. Natalie fired her.\n \n RYAN\n No, I fire dozens of people a day.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "Natalie turns to the monitor and proceeds to fire Ned. It is\n a pretty dry process and lacks Ryan's charm.\n \n NATALIE (CONT'D)", "JIM\n What's the mood like out there?\n \n RYAN\n It's not good... Emotional.", "Do you remember anyone giving you any\n signals of anything? Depression?\n \n RYAN\n They're all depressed. We're firing them.", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "Mr. Laskin, the reason we're having\n this conversation today is your\n position is no longer available.\n \n NED", "longer available.\n \n RYAN\n I'm fired?\n \n NATALIE", "RYAN\n Excuse me.\n \n And with that, Ryan leaves the stage. Handlers try to figure", "regular basis. You don't want to\n know if she can fire somebody?\n \n CRAIG GREGORY\n She just fired Ned.", "The woman looks over at Ryan and sighs. Natalie holds back,\n confused by Ryan's actions and wanting to avoid confrontation.", "The DESK CLERK frees up and gestures for Ryan to step\n forward. Ryan begins wheeling his bag forward. Meanwhile, the\n woman lifts her hand in outrage.", "bumped with legal.\n \n RYAN\n Really? I can't imagine why.\n \n NATALIE", "RYAN\n Why?\n \n KARA\n (SIGHS)", "RYAN\n Sometimes, they just need to vent.\n \n NATALIE\n Please, for the love of God, can I", "NATALIE (CONT'D)\n Today, I'm going to fire Ned.\n (ASIDE)\n Sorry, Ned. I'm sure H.R. will hire", "- Ryan and Alex get into the elevator together. She's wearing\n his jacket. We're about to see them kiss, when the elevator\n door closes.", "RYAN\n That place is a shit hole. No one\n stays there.\n \n KARA", "that your position is no longer\n available.\n \n RYAN\n Who the hell are you?" ], [ "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "A titter through the crowd. For the first time, we see\n Natalie near the side, watching.\n \n RYAN (CONT'D)", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "RYAN\n Excuse me.\n \n And with that, Ryan leaves the stage. Handlers try to figure", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "Ryan stands in the wings. He takes a breath, then steps out\n in front of a sea of people.", "That was really impressive. You\n rehearse that?\n \n Natalie smiles and goes back to her work. Ryan goes to say", "INT. LOBBY, ST. LOUIS HILTON - NIGHT\n \n There's a BUSINESS WOMAN waiting in the regular line. Ryan", "We hear Footsteps. The door unlocks and opens revealing ALEX.\n She's wearing sweatpants and glasses. She's at home. She\n looks different.", "INT. LOBBY, MIAMI HILTON - NIGHT\n \n Ryan and Alex followed by Natalie and her make-out buddy,", "What the fuck are you doing?\n (TO CROWD)\n Okay, everyone just relax. We'll\n have your next guest out in a sec.", "- Jim raises Julie's veil. They kiss.\n \n - Wedding attendees file into the Chalet Suites Banquet Hall.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Ryan Bingham, from CTC.\n \n The desk girl looks up from her work. She knows who they are.", "Ryan nods and gets up.\n \n \n INT. CONVENTION HALL, LAS VEGAS - DAY", "Everyone is leaving. Tammy grabs Julie's hands.\n \n TAMMY\n Can you believe it's tomorrow?! How", "INT. EPPLEY AIRFIELD, OMAHA - MORNING\n \n Ryan cuts right through the crowd, wheeling his carry-on", "a room at the end. Just as they're entering their room, the\n door across the hall opens revealing a woman in her early", "INT. CONFERENCE ROOM - DAY\n \n The company has piled in, standing room only. Assistants and\n interns watch through the windows." ], [ "RYAN (CONT'D)\n Come to think of it... Last night,\n the night before your wedding, when\n all this shit was circling through", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "Wichita. Natalie fired her.\n \n RYAN\n No, I fire dozens of people a day.", "RYAN\n (ALMOST SILENT)\n Oh fuck.\n 58.", "RYAN\n Sometimes, they just need to vent.\n \n NATALIE\n Please, for the love of God, can I", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "Ryan and the Businessman walk next to each, now completely\n ignoring each other as if they never shared a word.\n \n RYAN (V.O.)", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "JIM raises a hand. This is Julie's husband-to-be and we can\n tell immediately that Ryan isn't thrilled.", "Do you remember anyone giving you any\n signals of anything? Depression?\n \n RYAN\n They're all depressed. We're firing them.", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "They do?\n \n RYAN\n Sure. People are always saying\n crazy stuff. They get worked up.", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)", "Try again. Fire me.\n \n NATALIE\n I just did.\n \n RYAN", "A long thoughtful beat. Alex sighs.\n \n ALEX\n Okay.\n \n RYAN", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "regular basis. You don't want to\n know if she can fire somebody?\n \n CRAIG GREGORY\n She just fired Ned." ], [ "polite. One is even grateful.\n \n RYAN\n I understand why you are saying\n these things.", "watch as he walks away.\n \n RYAN\n You did good.\n \n Natalie nods.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "A long thoughtful beat. Alex sighs.\n \n ALEX\n Okay.\n \n RYAN", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "(AND AGAIN)\n Thank you for your time.\n \n Ryan fights the urge to break in as Natalie continues to lose\n her composure.", "good luck with your future.\n \n NED\n Thank you.\n \n Ned gets up and goes to leave.", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "NATALIE\n How about just not dying alone?\n \n Ryan stops to address this.\n \n RYAN", "... I'm lonely.\n \n Alex turns for her gate and joins the crowd. Ryan goes to say\n something. He has an impulse... but he finally ignores it and", "You can feel the relief in the room.\n \n RYAN (CONT'D)\n You don't need to carry all that\n weight.", "you can. But you're not going to be\n on your own.\n (begins to leave)\n Let me know.", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "RYAN\n (ALMOST SILENT)\n Oh fuck.\n 58.", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "Ryan and Natalie have a moment aside.\n \n RYAN\n Just remember, don't apologize.", "RYAN\n You know how many times I've\n thought about this moment? Played\n out the conversation I'd have with\n you right here.", "RYAN (CONT'D)\n Come to think of it... Last night,\n the night before your wedding, when\n all this shit was circling through", "(FRANKLY)\n Well, I doubt they ever admired\n you, Bob.\n \n Bob looks up shocked and pissed." ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "these out.\n \n He tries a couple.\n \n ALEX\n We can always use that room with", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "A coat slides off a hanger... A travel toothbrush folds\n closed like a switchblade... A briefcase clicks onto a roll-", "are laying on the bed, sprawled out on their backs like\n murder victims.\n 20.", "Natalie sees Ryan and starts dragging her LARGE SUITCASE\n towards him. The SCRAPING against the terrazzo sends a shiver\n up Ryan's spine.", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "Ryan pulls one out and tests the action.\n \n NATALIE\n I really like my luggage.", "RYAN\n That's exactly what it is. Luggage.\n (off of Natalie's look)\n You know how much time you lose by", "Inside the packet you'll find a\n clearly worked out severance package.\n \n KAREN\n Give me the bullet points.", "INT. KARA'S KITCHEN - NIGHT\n \n Kara is Ryan's sister. Her home overflows with books, photos," ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "maids and takes Ryan aside.\n \n RYAN\n What happened?\n \n KARA", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Natalie sees Ryan and starts dragging her LARGE SUITCASE\n towards him. The SCRAPING against the terrazzo sends a shiver\n up Ryan's spine.", "to see their arrival. Natalie accidentally makes eye contact\n with one guy, then quickly shifts her gaze forward.\n 41.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Ryan and Natalie turn to face each other.\n \n NATALIE (CONT'D)\n Mr. Bingham, I regret to inform you", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "JIM raises a hand. This is Julie's husband-to-be and we can\n tell immediately that Ryan isn't thrilled.", "RYAN\n Hey yourself.\n \n They hug - It's just intimate enough to know they've violated", "into his arms. Tears and smiles spread amongst the girls.\n \n Kara walks over to Ryan and pats him on the shoulder.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "He opens his briefcase and pulls out his ITINERARY. He scans\n it. We see a string of flights, car rentals, and stays at", "NED\n Well, what happens now?\n \n NATALIE\n This is the first step of a process", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "Just fine. You? The kids?\n \n KARA\n (LYING)\n Missy's outstanding. Matthew made" ], [ "INT. RYAN'S SUITE, HOUSTON HILTON - LATER THAT NIGHT\n \n Everything is scattered from a marathon Fuck. Ryan and Alex", "are laying on the bed, sprawled out on their backs like\n murder victims.\n 20.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "EXT. HOUSTON HILTON - NEXT MORNING\n \n Sprinklers doing their job. One's broken.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "INT. BAR LOUNGE - HOUSTON HILTON - LATER THAT EVENING\n \n Empty glasses litter the table. Ryan and Alex have taken over", "ground. It's cold.\n \n Ryan and Alex walk up the steps and try the door of the main\n building - it's locked. Ryan shrugs.", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "They kiss again and he lets go. Alex leaves and the door\n closes. Ryan just lays in bed for a moment.\n 69.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)", "INT. BAR LOUNGE - HOUSTON HILTON - EVENING", "Meanwhile, near the back, Ryan and Alex sit with their legs\n hanging off the back of the hull.\n \n ALEX", "What are you doing here?\n \n Ryan begins to step away. He turns and heads for his car,\n dropping the flowers.", "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "INT. ANNEX, WICHITA HOTEL - AFTERNOON\n \n Ryan has finished his session and is talking to eager" ], [ "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "Ryan and Natalie turn to face each other.\n \n NATALIE (CONT'D)\n Mr. Bingham, I regret to inform you", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Ryan and Alex walk in unison. They share a smile. Almost like\n they can't believe they're getting away with something.", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "Just fine. You? The kids?\n \n KARA\n (LYING)\n Missy's outstanding. Matthew made", "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "RYAN\n Hey yourself.\n \n They hug - It's just intimate enough to know they've violated", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Okay, what we do here is brutal and\n leaves people devastated, but there's\n a dignity to the way I do it.", "Mr. Samuels is now on the verge of tears. Eyes red.\n \n NATALIE", "RYAN\n Right?\n (relives it for a second)\n So just as we're hovering over the" ], [ "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "a room at the end. Just as they're entering their room, the\n door across the hall opens revealing a woman in her early", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "INT. RYAN'S APARTMENT, OMAHA - EARLY EVENING\n \n The door opens and Ryan wheels in his Roll-Away. He walks over", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "INT. ANNEX, WICHITA HOTEL - AFTERNOON\n \n Ryan has finished his session and is talking to eager", "Craig enters Ryan's doorway.\n \n CRAIG GREGORY\n Got a second?\n \n RYAN", "(LIGHTS UP)\n Oh great! They go over there.\n \n Julie points to a table and Ryan walks over. When he gets there,", "Ryan walks in and sets his bag down. Reveal - the place is\n empty... Like empty, empty.", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "INT. ALTERNATE CONFERENCE ROOM, DETROIT COMPANY - DAY\n \n An unsuspecting man in his mid fifties enters the room and", "Alex steps back in and for the first time in who knows how\n many years, Ryan, Kara, and Julie are alone together.", "- Jim raises Julie's veil. They kiss.\n \n - Wedding attendees file into the Chalet Suites Banquet Hall.", "the next room.\n (LISTENING)\n I know you don't give a shit about\n my comfort.\n (LISTENS)", "these out.\n \n He tries a couple.\n \n ALEX\n We can always use that room with", "climbs in after her. He immediately recognizes his\n surroundings.\n \n RYAN\n I took geography in here.", "away bag... A hand flips a light switch without looking.\n \n \n INT. LOBBY, PHOENIX HILTON - DAY", "Craig's door opens and Natalie pops her head in.\n \n NATALIE\n You wanted to see me?" ], [ "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "Ryan stifles a laugh.\n \n CRAIG GREGORY (CONT'D)\n Yeah, real fucking nice, right? No", "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "Ryan isn't feeling them. He is not inspired. He isn't\n believable. He's barely even there.\n 102.", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "Ryan sits at one of the couch & table set-ups. He's going\n over some paperwork. He notices an attractive professionally", "Ryan absorbs this. Nods.\n \n \n INT. OFFICE, SAN FRANCISCO - DAY", "Ryan looks at him straight in the face.\n \n RYAN\n I'm from here.", "Ryan mouths a silent \"fuck\".\n \n INTERCUT WITH:", "RYAN (CONT'D)\n We are all on running clocks that\n cannot be slowed down or paused and\n they all lead to the same place.", "Ryan goes running after the cutout. He climbs down a GANGWAY\n to a dock that is closest to the CUTOUT, which is beginning", "RYAN\n Hey yourself.\n \n They hug - It's just intimate enough to know they've violated", "Ryan stands in the wings. He takes a breath, then steps out\n in front of a sea of people.", "(FRUSTRATED)\n Ryan...\n \n Ryan sits back down.\n \n RYAN", "With that comment, Ryan slides into a leather club seat. A\n DIGITAL DISPLAY reads: \"Thank You For Your Loyalty\".", "INT. RYAN'S ROOM, DETROIT HILTON - NIGHT\n \n Ryan is holding the LARGE EMBOSSED ENVELOPE of his sister's", "RYAN (CONT'D)\n Steve, I want you to review this\n packet. Take it seriously. I think", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "catch with his future son one day.\n \n We can tell Ryan is taking a serious interest in this.\n \n ALEX (CONT'D)", "THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM.\n \n RYAN (V.O.)" ], [ "company their entire lives. Clock\n in. Clock out. Never a moment of\n happiness.\n (pauses for effect)\n Not everyone gets this kind of", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "their dreams.\n \n BOB\n Yeah, well I can't dunk.\n \n RYAN", "(FRANKLY)\n Well, I doubt they ever admired\n you, Bob.\n \n Bob looks up shocked and pissed.", "RYAN (V.O.)\n And that if your windfall ever came\n through, you'd quit and spend the", "career, and I don't expect it to\n hold me in bed as I fall asleep.\n (LOOKS UP)\n I just don't want to settle.", "NATALIE\n I had a job waiting for me in San\n Fran, when he got an offer from", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "We SEE the \"TREE OF ASPIRATIONS\" sheet.\n \n RYAN\n (WITH EMPHASIS)", "What are you working on so\n furiously?\n \n NATALIE\n I'm building a work flow of firing", "NATALIE\n When I was sixteen, I thought by\n twenty three, I would be married,\n maybe have a kid... Corner office", "movies. Six foot one. Brown hair.\n Kind eyes. Works in finance but is\n Outdoorsy, you know, on the weekends.\n (we think she's done)", "It works for us.\n \n NATALIE\n Think there's any future there?\n \n RYAN", "... Thanksgiving, Christmas, spring\n break, football games, all of a sudden\n they're out of school, getting jobs,\n getting married, And then, you know...", "A series of cubicles with YOUNG GUYS ON HEADSETS. She is in\n her element and very proud of her work.\n \n NATALIE", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "catch with his future son one day.\n \n We can tell Ryan is taking a serious interest in this.\n \n ALEX (CONT'D)", "by day, entertaining at night. I\n was supposed to be driving a Grand\n Cherokee by now.\n \n ALEX", "of all the places she hasn't been\n is beyond me.\n \n NATALIE\n Well, I'm sure she's going to be" ], [ "The DESK CLERK frees up and gestures for Ryan to step\n forward. Ryan begins wheeling his bag forward. Meanwhile, the\n woman lifts her hand in outrage.", "Reveal: Ryan is placing the CUT-OUT of Julie and Jim.\n \n The camera POV makes it look like Julie and Jim are standing", "NATALIE (CONT'D)\n You all know Ned in reception.\n \n Various people say hello to Ned.", "INT. RECEPTION, BOTTLING COMPANY - DAY\n \n Ryan and Natalie enter the door to find a reception desk on", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Try again. Fire me.\n \n NATALIE\n I just did.\n \n RYAN", "- Jim makes a speech. He is not good at public speaking, but\n the guests are generous with laughter.\n \n - Tammy has her tongue down a groomsmen's throat.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Ryan immediately spots Julie sobbing and being consoled by\n her bride's maids. The groomsmen are huddled in another\n corner, embarrassed and confused. Kara splits from the brides", "(LIGHTS UP)\n Oh great! They go over there.\n \n Julie points to a table and Ryan walks over. When he gets there,", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "For a moment, it almost seems like he's assaulting their tiny\n head with the zipper handle. Doesn't help.\n \n A moment of silent frustration.", "Natalie tries not to show: It's all becoming very real.\n \n RYAN\n (to desk girl)", "- Ryan and Alex get into the elevator together. She's wearing\n his jacket. We're about to see them kiss, when the elevator\n door closes.", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "machine.\n \n A FEMALE DESK ASSISTANT notices the number, looks up at Ryan,\n and has a tiny orgasm right there.", "Everyone is leaving. Tammy grabs Julie's hands.\n \n TAMMY\n Can you believe it's tomorrow?! How" ], [ "about why they are idiots to fire him.\n \n YOUNG ASIAN GUY\n ... And another thing...? You know", "Mr. Laskin, the reason we're having\n this conversation today is your\n position is no longer available.\n \n NED", "RYAN\n Excuse me.\n \n And with that, Ryan leaves the stage. Handlers try to figure", "Natalie turns to the monitor and proceeds to fire Ned. It is\n a pretty dry process and lacks Ryan's charm.\n \n NATALIE (CONT'D)", "Ryan isn't feeling them. He is not inspired. He isn't\n believable. He's barely even there.\n 102.", "an elite membership line, but they can't use it.\n \n Ryan is forced to stand in a queue of three people while a", "RYAN\n Why?\n \n KARA\n (SIGHS)", "NATALIE\n You've been let go.\n \n RYAN\n Why?", "- Ryan and Alex dance like teenagers.\n \n - The band does a cheesy choreographed dance step.", "KARA\n Yeah.\n \n RYAN\n Can you believe she's getting", "Ryan Bingham, from CTC.\n \n The desk girl looks up from her work. She knows who they are.", "longer available.\n \n RYAN\n I'm fired?\n \n NATALIE", "Yes, you're fired.\n \n RYAN\n (ASIDE)\n Never say fired.", "The woman looks over at Ryan and sighs. Natalie holds back,\n confused by Ryan's actions and wanting to avoid confrontation.", "You've been let go.\n 76.\n \n \n SAMUELS", "No... We're making you irrelevant.\n \n Ryan shoots a look.\n \n CRAIG GREGORY (CONT'D)", "fire the next one?\n \n Ryan gives it some thought.\n \n CUT TO:", "- Ryan and Alex get into the elevator together. She's wearing\n his jacket. We're about to see them kiss, when the elevator\n door closes.", "The DESK CLERK frees up and gestures for Ryan to step\n forward. Ryan begins wheeling his bag forward. Meanwhile, the\n woman lifts her hand in outrage.", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift." ], [ "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "maids and takes Ryan aside.\n \n RYAN\n What happened?\n \n KARA", "(LIGHTS UP)\n Oh great! They go over there.\n \n Julie points to a table and Ryan walks over. When he gets there,", "a room at the end. Just as they're entering their room, the\n door across the hall opens revealing a woman in her early", "disturb\" on her door handle and kisses Ryan good night.\n \n The door closes. Ryan smiles to himself.", "back and forth. Ryan notices. Is she nervous? Excited?\n \n Ding - The elevator door opens.", "RYAN\n Right?\n (relives it for a second)\n So just as we're hovering over the", "kiss in the first place.\n \n Then, all of a sudden, the lights go out on the boat. The\n motor has stopped. Ryan and Alex look back to find the", "Natalie sees Ryan and starts dragging her LARGE SUITCASE\n towards him. The SCRAPING against the terrazzo sends a shiver\n up Ryan's spine.", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "You know, I didn't know what was\n appropriate...\n \n Alex stops. She moves to a quieter place.", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "Jesus...\n \n RYAN\n I literally started to drown.\n Within a few seconds, I black out.", "NATALIE\n What?\n \n CUT TO:" ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "Ryan shoots Natalie a look - Hand over the packet.\n \n Natalie jumps to attention and hands Bob a packet.", "Do you remember anyone giving you any\n signals of anything? Depression?\n \n RYAN\n They're all depressed. We're firing them.", "Ryan and Natalie turn to face each other.\n \n NATALIE (CONT'D)\n Mr. Bingham, I regret to inform you", "The first thing we hear is crying in the background.\n \n INTERCUT WITH:", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "JIM raises a hand. This is Julie's husband-to-be and we can\n tell immediately that Ryan isn't thrilled.", "fire the next one?\n \n Ryan gives it some thought.\n \n CUT TO:", "to see their arrival. Natalie accidentally makes eye contact\n with one guy, then quickly shifts her gaze forward.\n 41.", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "They follow a workflow that can take\n them through anything from a standard\n dismissal to a violent aggressor.\n \n RYAN", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "What, just like that? I can't\n believe... Who are you?\n \n NATALIE\n My name is Miss Keener. I am here", "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from" ], [ "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "The manager puts down the letter and reaches out a hand.\n \n MANAGER", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "... I followed a boy.\n \n The manager smiles to himself.\n \n MANAGER", "MANAGER\n This guy says I'd be lucky to have\n you.", "to see their arrival. Natalie accidentally makes eye contact\n with one guy, then quickly shifts her gaze forward.\n 41.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "delays... You get to come home.\n \n Ryan is in a state of silent panic.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "He opens his briefcase and pulls out his ITINERARY. He scans\n it. We see a string of flights, car rentals, and stays at", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "33.\n \n \n RYAN\n Am I the only one who sees that by", "THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM.\n \n RYAN (V.O.)", "that your position is no longer\n available.\n \n RYAN\n Who the hell are you?" ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "are laying on the bed, sprawled out on their backs like\n murder victims.\n 20.", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "these out.\n \n He tries a couple.\n \n ALEX\n We can always use that room with", "A coat slides off a hanger... A travel toothbrush folds\n closed like a switchblade... A briefcase clicks onto a roll-", "A mop of tears. Ryan looks around for a place to set her\n down. Instead, he finds...", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "Inside the packet you'll find a\n clearly worked out severance package.\n \n KAREN\n Give me the bullet points.", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "Meanwhile, near the back, Ryan and Alex sit with their legs\n hanging off the back of the hull.\n \n ALEX", "ground. It's cold.\n \n Ryan and Alex walk up the steps and try the door of the main\n building - it's locked. Ryan shrugs.", "searching for his keys at the bottom of his bag. Finally\n finds them and opens the front door." ], [ "Try again. Fire me.\n \n NATALIE\n I just did.\n \n RYAN", "Ryan stifles a laugh.\n \n CRAIG GREGORY (CONT'D)\n Yeah, real fucking nice, right? No", "(LIGHTS UP)\n Oh great! They go over there.\n \n Julie points to a table and Ryan walks over. When he gets there,", "Ryan and Alex look out to shore... about 500 yards away. For\n whatever reason, they just start cracking up.", "(FRANKLY)\n Well, I doubt they ever admired\n you, Bob.\n \n Bob looks up shocked and pissed.", "to... Yeah, uh, Frank and I are\n trying out a trial separation.\n \n RYAN\n You're not staying at the house?", "- Jim makes a speech. He is not good at public speaking, but\n the guests are generous with laughter.\n \n - Tammy has her tongue down a groomsmen's throat.", "That was really impressive. You\n rehearse that?\n \n Natalie smiles and goes back to her work. Ryan goes to say", "RYAN\n That's true...\n \n JIM\n You never even tried.", "Ryan pulls one out and tests the action.\n \n NATALIE\n I really like my luggage.", "Ryan mouths a silent \"fuck\".\n \n INTERCUT WITH:", "Now try to walk.\n \n We hear people around us chuckling. Ryan smiles. Reveal:", "- Ryan and Alex getting dressed in a little kitchen in the\n church. They're in a hurry and a little sloppy, but there's a\n crooked joy in their faces.", "their dreams.\n \n BOB\n Yeah, well I can't dunk.\n \n RYAN", "Ryan is kidding, but not really. They play it off as a joke,\n but can't help feel the weight of this \"moment\".\n 85.", "I'm sorry I'm such a fuck up...\n Will you be my co-pilot?\n \n Julie gives him a perplexed look before smiling and falling", "For a moment, it almost seems like he's assaulting their tiny\n head with the zipper handle. Doesn't help.\n \n A moment of silent frustration.", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)" ], [ "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "Ryan and Natalie turn to face each other.\n \n NATALIE (CONT'D)\n Mr. Bingham, I regret to inform you", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Ryan and Alex walk in unison. They share a smile. Almost like\n they can't believe they're getting away with something.", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "Just fine. You? The kids?\n \n KARA\n (LYING)\n Missy's outstanding. Matthew made", "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "RYAN\n Hey yourself.\n \n They hug - It's just intimate enough to know they've violated", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Okay, what we do here is brutal and\n leaves people devastated, but there's\n a dignity to the way I do it.", "Mr. Samuels is now on the verge of tears. Eyes red.\n \n NATALIE", "RYAN\n Right?\n (relives it for a second)\n So just as we're hovering over the" ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "That was really impressive. You\n rehearse that?\n \n Natalie smiles and goes back to her work. Ryan goes to say", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "has forgotten to take her laptop out of her bag. It's a mess.\n \n \n INT. BOEING 757 - MID FLIGHT", "(LIGHTS UP)\n Oh great! They go over there.\n \n Julie points to a table and Ryan walks over. When he gets there,", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "A titter through the crowd. For the first time, we see\n Natalie near the side, watching.\n \n RYAN (CONT'D)", "Jesus...\n \n RYAN\n I literally started to drown.\n Within a few seconds, I black out.", "RYAN (CONT'D)\n Come to think of it... Last night,\n the night before your wedding, when\n all this shit was circling through", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "NATALIE\n What?\n \n CUT TO:", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "Natalie is now balling in the middle of the lobby.\n \n NATALIE\n Brian left me.", "RYAN\n Right?\n (relives it for a second)\n So just as we're hovering over the", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "INT. CONFERENCE ROOM, WICHITA SECURITIES COMPANY - LATER\n \n A professional African-American woman wearing a smart suit", "No, I don't remember anything. Of\n course they're upset. You never\n think that...\n \n CRAIG GREGORY", "Reveal: Ryan is placing the CUT-OUT of Julie and Jim.\n \n The camera POV makes it look like Julie and Jim are standing", "RYAN\n (ALMOST SILENT)\n Oh fuck.\n 58." ], [ "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "RYAN (CONT'D)\n This is the job. Taking people at\n their most fragile moment and\n setting them adrift.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "that your position is no longer\n available.\n \n RYAN\n Who the hell are you?", "RYAN\n Surprise.\n \n But there's something else. Alex is in shock... She's frozen.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "isolated, the way you live.\n \n RYAN\n Isolated? I'm surrounded.", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)", "RYAN\n No, nothing that stands out.\n (A THOUGHT)\n Is Natalie alright? Is she coming in?", "The woman looks over at Ryan and sighs. Natalie holds back,\n confused by Ryan's actions and wanting to avoid confrontation.", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "into a snow drift. Her eyes say everything - She just grew up.\n \n Meanwhile, Ryan is on his CELL. We catch the end of his\n conversation with Craig.", "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "maids and takes Ryan aside.\n \n RYAN\n What happened?\n \n KARA", "RYAN (CONT'D)\n Come to think of it... Last night,\n the night before your wedding, when\n all this shit was circling through", "delays... You get to come home.\n \n Ryan is in a state of silent panic.", "Natalie tries not to show: It's all becoming very real.\n \n RYAN\n (to desk girl)" ], [ "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "RYAN\n That's exactly what it is. Luggage.\n (off of Natalie's look)\n You know how much time you lose by", "Natalie sees Ryan and starts dragging her LARGE SUITCASE\n towards him. The SCRAPING against the terrazzo sends a shiver\n up Ryan's spine.", "maids and takes Ryan aside.\n \n RYAN\n What happened?\n \n KARA", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "Ryan pulls one out and tests the action.\n \n NATALIE\n I really like my luggage.", "Inside the packet you'll find a\n clearly worked out severance package.\n \n KAREN\n Give me the bullet points.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "A coat slides off a hanger... A travel toothbrush folds\n closed like a switchblade... A briefcase clicks onto a roll-", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "watch as he walks away.\n \n RYAN\n You did good.\n \n Natalie nods." ], [ "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "RYAN\n (ALMOST SILENT)\n Oh fuck.\n 58.", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "Ryan pulls one out and tests the action.\n \n NATALIE\n I really like my luggage.", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "Inside the packet you'll find a\n clearly worked out severance package.\n \n KAREN\n Give me the bullet points.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Wichita. Natalie fired her.\n \n RYAN\n No, I fire dozens of people a day.", "RYAN (CONT'D)\n Come to think of it... Last night,\n the night before your wedding, when\n all this shit was circling through", "RYAN\n That's exactly what it is. Luggage.\n (off of Natalie's look)\n You know how much time you lose by", "has forgotten to take her laptop out of her bag. It's a mess.\n \n \n INT. BOEING 757 - MID FLIGHT", "A coat slides off a hanger... A travel toothbrush folds\n closed like a switchblade... A briefcase clicks onto a roll-", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder." ], [ "JIM\n (SURPRISED)\n You own now?\n \n RYAN\n No.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "Ryan pulls one out and tests the action.\n \n NATALIE\n I really like my luggage.", "Okay, what we do here is brutal and\n leaves people devastated, but there's\n a dignity to the way I do it.", "Inside the packet you'll find a\n clearly worked out severance package.\n \n KAREN\n Give me the bullet points.", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "A coat slides off a hanger... A travel toothbrush folds\n closed like a switchblade... A briefcase clicks onto a roll-", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Ryan shoots Natalie a look - Hand over the packet.\n \n Natalie jumps to attention and hands Bob a packet.", "The door opens. Ryan and Natalie enter, when they both see\n something and immediately stop short.\n \n Sitting on the conference table is a COMPUTER set up for a", "these out.\n \n He tries a couple.\n \n ALEX\n We can always use that room with", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "are laying on the bed, sprawled out on their backs like\n murder victims.\n 20.", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family." ], [ "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "are laying on the bed, sprawled out on their backs like\n murder victims.\n 20.", "INT. BAR LOUNGE - HOUSTON HILTON - EVENING", "INT. RYAN'S SUITE, HOUSTON HILTON - LATER THAT NIGHT\n \n Everything is scattered from a marathon Fuck. Ryan and Alex", "INT. BAR LOUNGE - HOUSTON HILTON - LATER THAT EVENING\n \n Empty glasses litter the table. Ryan and Alex have taken over", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "INT. BATHROOM, MIAMI HILTON - DAY", "ground. It's cold.\n \n Ryan and Alex walk up the steps and try the door of the main\n building - it's locked. Ryan shrugs.", "CRAIG GREGORY\n She killed herself. Jumped off a bridge.\n \n RYAN\n Fuck.", "INT. BAR LOUNGE - MIAMI HILTON - MOMENTS LATER", "INT. RESTAURANT BAR, ST. LOUIS HILTON - EVENING", "Natalie is now balling in the middle of the lobby.\n \n NATALIE\n Brian left me.", "Ryan walks in and sets his bag down. Reveal - the place is\n empty... Like empty, empty.", "to sink in the filthy water.\n \n Ryan reaches... and reaches... and just as he's got a finger\n tip on the photo... FALLS IN.", "Ryan goes running after the cutout. He climbs down a GANGWAY\n to a dock that is closest to the CUTOUT, which is beginning", "halfway between a Swiss Lodge and a Best Western. Just a\n little sadder. A yellow sign reads \"Welcome Miller-Bingham\n Wedding Guests!\"", "EXT. HOUSTON HILTON - NEXT MORNING\n \n Sprinklers doing their job. One's broken.", "INT. BROOKS BROTHERS, DALLAS FORT WORTH AIRPORT - DAY" ], [ "her fiance Jim. It's an eighteen inch card stock photo of Jim\n hugging Julie from behind.\n \n DIANNE", "INT. ANNEX, WICHITA HOTEL - AFTERNOON\n \n Ryan has finished his session and is talking to eager", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "(RE: PHOTO)\n They seem happy.\n \n RYAN\n It's my sister. She's getting", "Ryan thinks of something. He pulls out the 5X7 PHOTOS they\n took of the JIM & JULIE CUT OUT.\n \n RYAN", "We push in on an EASEL with a SIGN that features RYAN'S\n HEADSHOT. Underneath his name, it reads: \"What's In Your\n Backpack?\"", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "Natalie takes the photo.\n \n \n RYAN\n Why she wants dozens of reminders", "the next room. He's literally on the other side of the wall.\n \n NATALIE (CONT'D)\n There's a packet in front of you.", "we see almost a hundred photos pinned to a map of America. It's\n overwhelming. All of a sudden, his effort seems miniscule.", "these out.\n \n He tries a couple.\n \n ALEX\n We can always use that room with", "He tries placing it in the open bag, but it is immediately\n clear that the photo is two inches to long. He tries putting", "INT. RYAN'S SUITE, HOUSTON HILTON - LATER THAT NIGHT\n \n Everything is scattered from a marathon Fuck. Ryan and Alex", "RYAN\n Thanks. Hope it wasn't a bother.\n \n Ryan opens it and finds the CUT-OUT of his sister Julie and", "a room at the end. Just as they're entering their room, the\n door across the hall opens revealing a woman in her early", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "TABLE and take BADGES.\n \n They turn the corner. Alex reads Natalie's badge.\n \n ALEX", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then..." ], [ "(FRANKLY)\n Well, I doubt they ever admired\n you, Bob.\n \n Bob looks up shocked and pissed.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "to see their arrival. Natalie accidentally makes eye contact\n with one guy, then quickly shifts her gaze forward.\n 41.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder.", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "Ryan immediately spots Julie sobbing and being consoled by\n her bride's maids. The groomsmen are huddled in another\n corner, embarrassed and confused. Kara splits from the brides", "JULIE\n Thanks.\n \n CUT TO:\n 87.", "Just fine. You? The kids?\n \n KARA\n (LYING)\n Missy's outstanding. Matthew made", "(POINTING)\n That was my seat.\n \n ALEX\n You ever fool around with one of", "So, what happened?\n \n We turn to reveal Natalie.\n 111.", "What, just like that? I can't\n believe... Who are you?\n \n NATALIE\n My name is Miss Keener. I am here", "(ANOTHER PERSON)\n ... are-all-in-there.\n \n CUT TO:", "with you?\n \n Ryan smiles... \"Do I?\"\n \n He hands it to her, close enough to camera, that we get a", "movies. Six foot one. Brown hair.\n Kind eyes. Works in finance but is\n Outdoorsy, you know, on the weekends.\n (we think she's done)", "NATALIE\n What?\n \n CUT TO:", "Ryan zips through the wandering types as Natalie tries to\n keep up. Ryan's phone rings. He sees the caller ID. Smiles.", "maids and takes Ryan aside.\n \n RYAN\n What happened?\n \n KARA", "married. Haven't met the guy yet.\n \n DIANNE\n Lots of luck.\n 24.", "her fiance Jim. It's an eighteen inch card stock photo of Jim\n hugging Julie from behind.\n \n DIANNE", "... I'm lonely.\n \n Alex turns for her gate and joins the crowd. Ryan goes to say\n something. He has an impulse... but he finally ignores it and" ], [ "Ryan stops.\n \n RYAN\n Personally?\n (quiet and calm)\n This is the most personal situation", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "Everybody does at one point or\n another.\n \n The manager raises a letter - It's Ryan's letter.", "RYAN\n Right?\n (relives it for a second)\n So just as we're hovering over the", "After a beat.\n \n RYAN\n Yes.\n \n ALEX", "Ryan stands before a similar crowd as the opening of the film.\n \n RYAN\n Okay. This is where it gets a", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "A long thoughtful beat. Alex sighs.\n \n ALEX\n Okay.\n \n RYAN", "You don't even know what you want.\n I'm sorry that I ruined your night...\n But you could have seriously screwed\n things up for me. That was my family.", "We remain in the room with Natalie and Ryan, but we hear Mr.\n Samuels crying. It's loud and embarrassing. It's coming from", "RYAN\n (ALMOST SILENT)\n Oh fuck.\n 58.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "Ryan and Natalie turn to face each other.\n \n NATALIE (CONT'D)\n Mr. Bingham, I regret to inform you", "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "(A BEAT)\n There isn't a \"point\".\n \n Jim sinks a little.", "And what do you suggest I tell\n them?\n \n BOB. Dry red eyes from tears of rage stare down the lens.", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "RYAN\n Hey yourself.\n \n They hug - It's just intimate enough to know they've violated", "THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM.\n \n RYAN (V.O.)", "events too quickly. You have to give\n them time to acknowledge each\n statement. Okay? It's a legal thing.\n \n Ryan can only watch." ], [ "chases after them.\n \n Alex is still speechless. Her eyes are angry and apologizing\n all at the same time.", "She goes to see if the woman is okay, then stops herself -\n Maybe I fired her.\n \n She grabs a paper towel, dries off her hands, and leaves.", "for a second, then gets up and leaves.\n \n Natalie catches her breath. A second later, Samuels passes\n their room, visible through the conference room windows. They", "and on shelves.\n \n Ryan takes a beat. He just stares at the backpack and thinks\n about all the things he has removed from it... And then...", "They kiss again and he lets go. Alex leaves and the door\n closes. Ryan just lays in bed for a moment.\n 69.", "good luck with your future.\n \n NED\n Thank you.\n \n Ned gets up and goes to leave.", "Ryan smiles. He stares at the message for a second, then sets\n the blackberry down and turns off the light.", "Ryan just stands there. Emotionally bleeding to death.\n \n ALEX\n (ALMOST INAUDIBLE)", "Meanwhile, down the hall, Natalie is finishing a phone call.\n She looks shell shocked. She closes her phone and pockets it\n in silence.", "Ryan quietly steps in to find Jim, half dressed in a tux\n reading the children's book \"The Velveteen Rabbit\". Jim\n sniffles. Ryan goes to leave, when...", "fire the next one?\n \n Ryan gives it some thought.\n \n CUT TO:", "Ryan and the Businessman walk next to each, now completely\n ignoring each other as if they never shared a word.\n \n RYAN (V.O.)", "Ryan lets the weight sink in.\n \n RYAN (CONT'D)\n Now set that bag down.", "(A BEAT)\n Make no mistake. We all die alone.\n \n Ryan turns, thinks of something, then turns back.", "watch as he walks away.\n \n RYAN\n You did good.\n \n Natalie nods.", "Steve pours bleach into the communal coffee pot.\n \n Steve loads an assault rifle. He stands up to get a view of", "Ryan shoots Natalie a look - Hand over the packet.\n \n Natalie jumps to attention and hands Bob a packet.", "to sink in the filthy water.\n \n Ryan reaches... and reaches... and just as he's got a finger\n tip on the photo... FALLS IN.", "What are you doing here?\n \n Ryan begins to step away. He turns and heads for his car,\n dropping the flowers.", "Natalie bursts out the doors and sits on a bench. She's\n freaked out. Ryan is five steps behind her. He puts a hand on\n her shoulder." ] ]

[ "Why was the station trying to get rid of moody singer, Rita Wilson?", "Who was in the audience while Rita Wilson was rehearsing and tried to slip out the back door before the shooting?", "Who had an argument with Rita not long before the shooting?", "As a sign of gratitude, what does Farrell promise Frankie by not telling the police about Farrell and Rita's argument before her death?", "Where was the weapon found used to kill Rita?", "Who is arrested by the police and suspected of the murder of Rita?", "Where is Tex found murdered?", "Who confesses to both crimes?", "What happens when Jeff enters the room unannounced?", "What is Frankie Ryan's career?", "What is Frankie's dream job?", "What happens when Frankie and Jeff try to help the station receptionist?", "Why does the station want to get rid of their current singer?", "What happens to Rita during the blackout?", "Who do the police suspect in the shooting?", "Why is the station manager afraid he might be seen as a suspect?", "Who finds the murder weapon and where do they find it?", "What happens when Frankie and Jeff try to audition for a comedy role?", "Who confesses to both crimes?", "What happened to Rita Wilson while the blackout was occuring during her rehearsal?", "Why is station producer, Farrell, afraid of becoming a suspect in Rita's murder?", "Who found the Murder weapon used to kill Rita?", "Where was Rita Wilson's murder weapon hidden?", "Who owns the murder weapon?", "Where was Tex Barton found murdered?", "What does the picture found in Tex's room suggest that Anne's real name is?", "When Frankie finds out Anne is a brunette, who does he then believe may be Gladys?", "What does Van Martin Confess to?", "What happens to Van Martin after Jeff accidentally knocks the gun from his hands? " ]

[ [ "They were having financial problems.", "Financial problems" ], [ "Cowboy singer, Tex Barton.", "Tex Barton" ], [ "Station producer, Farrell.", "station producer Farrell" ], [ "To give Anne a real audition for the position of singer since the position is empty.", "He promises to give Anne a real singing audition." ], [ "In a ventilator duct.", "Ventilator duct" ], [ "Anne.", "Van Martin" ], [ "In the office of the station owner.", "The office of the station owner." ], [ "Van Martin.", "Van Martin" ], [ "He accidentally knocks the gun out of Van Martin's hand and the police arrest him.", "he accidentally knocks the gun out of Vans hand" ], [ "He works as a page boy at a radio station in Hollywood.", "he is a page boy at a radio station" ], [ "To perform as a comedian on a radio show.", "A radio comedian on the air." ], [ "They are almost fired for setting up a false audition for the role of a singer.", "They almost get fired." ], [ "They are having financial difficulties.", "She's moody, and they have financial problems." ], [ "She is shot and killed when rehearsing for a broadcast.", "she is shot and killed" ], [ "Tex Barton, a wannabe cowboy singer.", "cowboy singer Tex Barton" ], [ "He had an argument with Rita before the shooting.", "The station manager had an argument with Rita before she was killed." ], [ "Frankie finds it in a ventilator duct. ", "Frankie finds the weapon." ], [ "The police comee looking for Tex and find him murdered in the office of the stage manager.", "The police come looking for Tex." ], [ "Van Martin, one of the station executives.", "Van Martin" ], [ "She is shot, and killed.", "Rita is shot and killed." ], [ "Because he was in an argument shortly before the shooting took place.", "He had an argument with Rita prior to her murder" ], [ "Frankie Ryan", "Frankie" ], [ "In a ventilation duct.", "in a ventilator duct" ], [ "Tex Barton", "Van Martin." ], [ "The station Manager's office.", "In the station owner's office." ], [ "Gladys", "That her real name is Gladys." ], [ "Rita", "Rita" ], [ "Both the murder of Rita Wilson, and Tex Barton", "Both murders." ], [ "He is arrested by police.", "The police arrest him." ] ]

[ [ "They pass an automobile accident where a man has been thrown into the \ncurb - his head broken open and bleeding. The ambulance is just \narriving. Lula looks away.", "They stare at each other. Lula suddenly feels sick to her stomach and \nslumps down on the edge of the bed.", "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "ECU of Lula’s eyes. Her eye makeup runs like black sweat over eyes and \ndown her cheeks as in Sailor’s dream.", "Suddenly, Lula sees an image in her mind that she does not recognize. \nShe sees an abstract image of reflected light with two eyes looking \nthrough it at her. The image puzzles her.\n\n(The Music continues over)", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "Lula and Sailor kiss. In the middle of the kiss, the woman’s \ncreepy/crazy laugh is heard again in the distance and Lula’s eyes snap \nopen with a kind of fear.", "away. Lula’s gaze goes to a reflection of golden light on a windshield. \nIt is the same abstract scene she saw before in her room in Big Tuna,", "LULA\n\t\tOh God, Sailor.\n\n\n\t\t\t\tSAILOR\n\t\tOne bad car accident...", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Lula waits just by the lobby door of the hotel. In the back of the \nlobby in the shadows is an ancient, old BLACK MAN who stares at her.", "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "Lula starts to reply, then stops. She stares straight ahead, gripping \nthe wheel hard. Suddenly, she pulls over to the side of the road, turns \noff the engine and gets out of the car.", "His hand moves down over her breasts - down across her stomach - and \ndown. Lula’s left hand opens and spreads wide.", "Sailor and Lula help the girl stand, but her eyes start rolling back and \na bunch of fresh blood comes gushing up out of her mouth.", "It’s very quiet in the hotel room and the clock says four a.m. Lula and \nSailor are lying in bed arm in arm. Sailor is fast asleep - snoring. \nLula is wide awake.", "Lula is standing in the bathroom of their room at the Hotel fooling with \nher hair in front of the mirror. Sailor can see her through the doorway \nfrom where he lays on the bed.", "of the road. Sailor slows down to a crawl. He and Lula turn to each \nother - they’ve just seen TWO DEAD BODIES. One close to the side of the", "Sailor and Lula are just finishing making love in their room. As Lula \nclimaxes, her left hand opens and spreads wide. The lay quietly for a \nmoment." ], [ "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "MARIETTA\n\t\tLula’s gone off with Sailor.\n\n\t\t\t\tSANTOS\n\t\tWhat do you want me to do about it?", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "LULA\n\t\tMama. I been thinkin’ about her.\n\t\tShe’s prob’ly worried to death by now.\n\n\t\t\t\tSAILOR\n\t\tMore’n likely.", "Lula is sitting on a bench in the waiting room of the Iguana County \nCourthouse Building when Marietta and Santos walk in. As soon as she", "LULA\n\t\t\t(quietly)\n\t\tLike hell.\n\nMarietta, her hand still on the telephone, grips the receiver so hard \nher knuckles turn white.", "Santos’ arms begin to go around Lula. Lula lets out a blood-curdling \nscream and shakes like a leaf on a tree. Santos grabs her hard - in a", "MARIETTA\n\t\tHey, Sailor boy, you wanna fuck Lula’s\n\t\tmama?...\n\n\t\t\t\tSAILOR\n\t\tNo.", "LULA\n\t\t\t(quietly)\n\t\tMy mama...\n\t\t (after a pause - she smiles)\n\t\tSo Sailor, our histories have been\n\t\tsomewhat intertwined.", "MARIETTA\n\t\tOh, yes, you can.\n\nSantos steps forward. Lula begins to tremble.", "Tears are pouring down Marietta’s cheeks. She holds Lula to her and \nLula does not resist. Lula just stares at Santos.", "Marietta is escorting MARCELLO SANTOS and two stiff drinks to a table in \nher backyard.\n\n\t\t\t\tSANTOS\n\t\tI knew you’d want it again...", "Marietta is crying.\n\n\t\t\t\tMARIETTA\n\t\tLula? I love you, baby. I just\n\t\twant you to be all right.", "LULA\n\t\tNothin’, honey. \n\t\t (stubbing it out in the ashtray)\n\t\tMama’s just actin’ strange.", "LULA\n\t\tMama, Sailor’s in deep trouble here.\n\t\tI just can’t leave him.", "LULA\n\t\t (voice-over)\n\t\tDell told her he was makin’ his", "sees Lula, Marietta runs over, sits down next to her and hugs and kisses \nher.", "His hand moves down over her breasts - down across her stomach - and \ndown. Lula’s left hand opens and spreads wide.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "MARIETTA\n\t\tWhat if I asked you not to?\n\n\t\t\t\tLULA\n\t\tWouldn’t make any difference." ], [ "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "Lula is standing in the bathroom of their room at the Hotel fooling with \nher hair in front of the mirror. Sailor can see her through the doorway \nfrom where he lays on the bed.", "Lula waits just by the lobby door of the hotel. In the back of the \nlobby in the shadows is an ancient, old BLACK MAN who stares at her.", "It’s very quiet in the hotel room and the clock says four a.m. Lula and \nSailor are lying in bed arm in arm. Sailor is fast asleep - snoring. \nLula is wide awake.", "CUT TO:\n\n139. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT", "They stare at each other. Lula suddenly feels sick to her stomach and \nslumps down on the edge of the bed.", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "CUT TO:\n\n133. INT. INGUANA MOTEL - SAILOR AND LULA’S ROOM - DAY", "137. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT\n\nSailor bends over the bed and kisses Lula’s hair above her left ear.", "22. INT. CAPE FEAR HOTEL - DAY\n\nLula’s eyes look off, remembering.", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "The room is large but cheap. Lula strips off the dishwater grey \nbedspread and tosses it over by the bureau. Sailor looks out the broken \nwindow.", "CUT TO:\n\n\n8. INT. FORTUNE HOUSE - LULA’S ROOM UPSTAIRS - DAY", "Sailor and Lula lay on the bed in the Cape Fear Hotel listening to the \nfan creak.", "Lula feels around on the floor with one hand until she finds the \ncigarette. Sirens can be heard up ahead.", "Lula enters her room and cranks up her stereo. Speed metal music jumps \nup to around one hundred twenty decibels.\n\n\t\t\t\t\t\t\t\tCUT TO:", "CUT TO:\n\n161. INT. LULA’S CAR - LATE AFTERNOON/EVENING", "Sailor and Lula are just finishing making love in their room. As Lula \nclimaxes, her left hand opens and spreads wide. The lay quietly for a \nmoment.", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat." ], [ "Bobby nods to Lula and offers a hand to Sailor.\n\n\t\t\t\tBOBBY\n\t\tBobby Peru, just like the country.\n\nSparky and Buddy laugh.", "Sailor is just about finished changing the oil in the Thunderbird when \nBobby Peru pulls up in the maroon Eldo.\n\n\t\t\t\tBOBBY\n\t\tNeed a hand?", "There is a knock on the door which wakes Lula from her nap. She opens \nthe door. Bobby Peru stands outside.\n\n\t\t\t\tBOBBY\n\t\tHey, pretty woman... Sailor here?", "Bobby Peru.", "SAILOR\n\t\tThanks, Bobby, ’bout done.\n\nSailor throws some stuff in the trunk and closes the lid.", "Sailor fires his .32 at Bobby. There are no live bullets in his pistol. \nIt just makes a dry click. Bobby smiles and is just about to kill", "BOBBY\n\t\tBobby Peru grab you now... Hold\n\t\tyou tight... Feel everythin’ in you", "The big Eldorado pulls up in front of the Iguana Motel where Sailor has \nbeen waiting in the hot sun. Bobby opens the door.\n\n\t\t\t\tBOBBY\n\t\tJump in back.", "BOBBY\n\t\tHow ’bout a beer?\n\n\t\t\t\tSAILOR\n\t\tThat’d be fine, Bobby.", "Bobby leaves smiling and slams the door. Lula stands trembling clicking \nher heels together.\n\n\t\t\t\tLULA\n\t\t\t(whispers)\n\t\tSailor...", "Bobby returns from the jukebox and sits down next to Sailor.", "Bobby Peru... You want Bobby Peru\n\t\tto fuck you hard baby - open you\n\t\tup like a Christmas present.", "Sailor and Lula drive off. Buck and Billy go back inside the Red Devil \nstation. Guess who is over the corner cleaning nuts and bolts with a \ntoothbrush and gasoline ... It’s DELL!", "SAILOR\n\t\t\t(finishing his beer)\n\t\tHave now.\n\n\t\t\t\tBOBBY\n\t\tCome on outside, I got somethin’ \n\t\tto show ya.", "Bobby and Sailor enter the feed store. Bobby raises his sawed-off \nshotgun and points it at the TWO OLD MEN behind the counter.", "SAILOR\n\t\t (can’t look at her)\n\t\tWent with Bobby.\n\nSailor sits on the bed and starts undressing.", "SAILOR\n\t\t (looks right into her eyes)\n\t\tAnd Bobby too, I hear...", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "LULA\n\t\tThat was a accident. I bet both our\n\t\tasses Bobby Peru done murdered all\n\t\tkinds of people, and meant it, too.", "Sailor stares at Bobby and works hard to focus his eyes.\n\n\t\t\t\tSAILOR\n\t\tNo... I don’t think so, man." ], [ "Sailor fires his .32 at Bobby. There are no live bullets in his pistol. \nIt just makes a dry click. Bobby smiles and is just about to kill", "Sailor when out of the corner of his eye he catches sight of the second \nold man bringing out a big shotgun of his own. Bobby instinctively", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "Sailor looks at Lula. Her eyes are full of tears and she lets them \nloose. Sailor tries to smile.", "spins and empties the second barrel of his two-barrel shotgun into the \nold gentleman. As Bobby is reloading fast, Sailor sprints through the", "Sailor finds her sitting on the ground, leaning against the passenger \nside of the Thunderbird. Lula’s eyes are red and wet but she isn’t \ncrying. Sailor kneels down next to her.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "it... You want me to shoot Sailor\n\t\tin the head with a gun.", "Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob \nRay’s brain. From there, Sailor steps firmly into the crazy zone.", "148. INT. RAMOS FEED STORE - FRONT OFFICE - DAY\n\nSailor turns his pistol on Bobby now. Bobby spins his shotgun around \nand points it at Sailor.", "SAILOR\n\t\t (can’t look at her)\n\t\tWent with Bobby.\n\nSailor sits on the bed and starts undressing.", "Sailor hits the ground - losing the Smith as he falls. He puts his hand \nover his hosieried head and keeps his face in the dirt until the deputy \norders him to stand up.", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "That’s all it takes. The gang is on him. Sailor tries to defend \nhimself, but one big punch to his nose sends him down and out. Blood \nbegins to pour from his swelling nose.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor.", "Sailor and Lula are just finishing making love in their room. As Lula \nclimaxes, her left hand opens and spreads wide. The lay quietly for a \nmoment.", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "Sailor\n\nLONG FADE OUT:\n\n\t\t\t\t\t\t\t\tCUT TO:" ], [ "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "Sailor and Lula both laugh. Up ahead, Sailor spots a hitchhiker. He \nslows to pick him up.", "gets up. He puts his arm around Lula and they go back to her car. \nSailor helps Lula in on her side and closes the door for her. He goes", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat.", "around, gets in and looks over at Lula, who breaks down crying harder. \nSailor starts the car and takes off.", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "SAILOR\n\t\tWhat could I be up to, Lula?\n\n\t\t\t\tLULA\n\t\tHe’s a stone fuckin’ criminal, honey,\n\t\tand you ain’t.", "Sailor and Lula drive off. Buck and Billy go back inside the Red Devil \nstation. Guess who is over the corner cleaning nuts and bolts with a \ntoothbrush and gasoline ... It’s DELL!", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "Sailor stands and leans against the hood of the car until Lula gets up \nand climbs inside. He wraps his snakeskin jacket around her and starts", "158. INT. TRAIN STATION - EVENING\n\nLula sees Sailor as soon as she opens the door. He is sitting in an \norange plastic chair against the opposite wall, smoking a cigarette.", "Sailor finds her sitting on the ground, leaning against the passenger \nside of the Thunderbird. Lula’s eyes are red and wet but she isn’t \ncrying. Sailor kneels down next to her.", "LULA\n\t\tMama, Sailor’s in deep trouble here.\n\t\tI just can’t leave him.", "Sailor is waiting out front as Lula pulls up in her T-Bird - throwing \nout a cloud of dust. They’re both smiling.\n\n\t\t\t\tLULA\n\t\tHey baby...", "Sailor starts to sing an Elvis Presley song, “Love Me.” As the band \njoins in with a perfect back-up - Sailor sings to Lula. The Speed Metal \ncrowd is mesmerized.", "He stands up and looks down at Pace, who is still holding hands with \nLula. Sailor puts out his right hand.\n\n\t\t\t\tSAILOR\n\t\tYou must be my son.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "Sailor and Lula are in a Shell station just outside of Houston. Sailor \nis filling the Thunderbird with regular. An OLD MAN sits near the pumps", "96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT\n\nLula and Sailor cruise the dark streets.", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:" ], [ "That’s all it takes. The gang is on him. Sailor tries to defend \nhimself, but one big punch to his nose sends him down and out. Blood \nbegins to pour from his swelling nose.", "Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob \nRay’s brain. From there, Sailor steps firmly into the crazy zone.", "Sailor continues walking down the street. A GANG OF INSANE KILLER \nTEENAGERS on PCP appear and come towards Sailor. They circle around \nhim, coming in closer for the kill.", "Sailor opens his eyes and drags himself and his giant swollen nose up on \nhis feet. The gang still stands around him.\n\n\t\t\t\tGANG MEMBER\n\t\tYou had enough, asshole?", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "Sailor’s eyes suddenly see the Good Witch through his closed eyelids. \nHis mouth speaks through closed lips.\n\n\t\t\t\tSAILOR\n\t\tThe Good Witch...", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "Sailor and Lula help the girl stand, but her eyes start rolling back and \na bunch of fresh blood comes gushing up out of her mouth.", "through the chest of one of the old men. Sailor goes into shock.", "The Idiot Punk tries to hit Sailor, but Sailor slaps him so hard his \nknees almost bend backwards. The Idiot Punk goes down - fighting back \ntears and holding his cheek.", "Sailor turns around and starts running back. The gang watches him go.\n\n\t\t\t\t\t\t\t\tCUT TO:", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "The guard escorts Sailor away from the telephone and back to his cell. \nThe iron bars of the door slide across Sailor’s face and close with a \nbang.", "Sailor looks at Lula. Her eyes are full of tears and she lets them \nloose. Sailor tries to smile.", "Sailor finds her sitting on the ground, leaning against the passenger \nside of the Thunderbird. Lula’s eyes are red and wet but she isn’t \ncrying. Sailor kneels down next to her.", "Sailor hits the ground - losing the Smith as he falls. He puts his hand \nover his hosieried head and keeps his face in the dirt until the deputy \norders him to stand up.", "Sailor’s eyes seem to be thinking back...\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor. He leans in and whispers in Sailor’s ear.", "Sailor\n\nLONG FADE OUT:\n\n\t\t\t\t\t\t\t\tCUT TO:", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms." ], [ "Sailor turns around from his sprawled on the bed position watching The \nDating Game show.\n\n\t\t\t\tSAILOR\n\t\t’Cause I’m only gonna sing that song\n\t\tto my wife.", "Sailor starts to sing an Elvis Presley song, “Love Me.” As the band \njoins in with a perfect back-up - Sailor sings to Lula. The Speed Metal \ncrowd is mesmerized.", "Sailor, with a giant blue nose, looks into Lula’s eyes and sings “Love \nMe Tender.”", "LULA\n\t\tThat you, Sail, honey?\n\n\t\t\t\tSAILOR\n\t\tThe only one.\n\nLula opens her eyes and looks at him.", "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "SAILOR\n\t\tHe ain’t never known me, Lula, so \n\t\tthere ain’t much for him to forget.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Sailor. He leans in and whispers in Sailor’s ear.", "We see an empty carpeted hallway and can hear a ballroom dance band \nplaying in the distance. Sailor obviously slightly drunk, comes down", "SAILOR\n\t\tYou know, Lula, I never told you \n\t\twhat all I was doin’ before I met you.", "SAILOR\n\t\tOkay, honey, I’ll see you later.\n\n\t\t\t\t\t\t\t\tCUT TO:", "SAILOR\n\t\tI know. I kept walkin’, I headed for\n\t\tyour house, only it wasn’t your", "Sailor\n\nLONG FADE OUT:\n\n\t\t\t\t\t\t\t\tCUT TO:", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "SAILOR\n\t\t (can’t look at her)\n\t\tWent with Bobby.\n\nSailor sits on the bed and starts undressing.", "Bobby leaves smiling and slams the door. Lula stands trembling clicking \nher heels together.\n\n\t\t\t\tLULA\n\t\t\t(whispers)\n\t\tSailor...", "SAILOR\n\t\tHoney, I’m sorry. It wasn’t nothin’.\n\t\tCome on and get up and we’ll take\n\t\toff.", "Lula pulls Sailor over to her and kisses him soft on the mouth.\n\n\t\t\t\tLULA\n\t\tYou move me, Sailor, you really do.\n\t\tYou mark me the deepest." ], [ "That’s all it takes. The gang is on him. Sailor tries to defend \nhimself, but one big punch to his nose sends him down and out. Blood \nbegins to pour from his swelling nose.", "Sailor continues walking down the street. A GANG OF INSANE KILLER \nTEENAGERS on PCP appear and come towards Sailor. They circle around \nhim, coming in closer for the kill.", "Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob \nRay’s brain. From there, Sailor steps firmly into the crazy zone.", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "SAILOR\n\t\tI killed Bob Ray Lemon, didn’t I?", "Sailor fires his .32 at Bobby. There are no live bullets in his pistol. \nIt just makes a dry click. Bobby smiles and is just about to kill", "Sailor. He leans in and whispers in Sailor’s ear.", "Sailor looks at Lula.\n\n\t\t\t\tSAILOR\n\t\tSusan Day...\n\nThe assistant manager, TOMMY THOMPSON, speaks from the shadows behind \nthe group.", "MARIETTA\n\t\tAll right... I want you ... to ...\n\t\tkill ... Sailor... As simple as that.", "Sailor stares at him and his fist clenches.\n\n\t\t\t\tSAILOR\n\t\tI don’t particularly care for that\n\t\tkind of talk, Bobby.", "SAILOR\n\t\tOkay, manslaughterer who’s broke his\n\t\tparole and got in mind nothin’ but\n\t\timmoral purposes far’s you’re \n\t\tconcerned.", "PERDITA\n\t\tThat guy Sailor came around this\n\t\tafternoon... Asked me if there was\n\t\ta contract out on ’im.", "Sailor hits the ground - losing the Smith as he falls. He puts his hand \nover his hosieried head and keeps his face in the dirt until the deputy \norders him to stand up.", "who wanted ’em killed.", "Sailor opens his eyes and drags himself and his giant swollen nose up on \nhis feet. The gang still stands around him.\n\n\t\t\t\tGANG MEMBER\n\t\tYou had enough, asshole?", "through the chest of one of the old men. Sailor goes into shock.", "LULA\n\t\t\t(can’t look at him)\n\t\tYeah... He was lookin’ for you.\n\n\t\t\t\tSAILOR\n\t\tYou talk to ’im some?...", "MARIETTA\n\t\tI want you to take care of Sailor, so\n\t\the won’t ever be able to bother my\n\t\tbaby again.", "SAILOR\n\t\tWhat could I be up to, Lula?\n\n\t\t\t\tLULA\n\t\tHe’s a stone fuckin’ criminal, honey,\n\t\tand you ain’t.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry." ], [ "MARIETTA\n\t\tLula’s gone off with Sailor.\n\n\t\t\t\tSANTOS\n\t\tWhat do you want me to do about it?", "JOHNNIE\n\t\tI got some news, Marietta. Lula\n\t\tand Sailor been here. They checked\n\t\tout of the Hotel Brazil on Frechman\n\t\tStreet yesterday.", "MARIETTA\n\t\tHey, Sailor boy, you wanna fuck Lula’s\n\t\tmama?...\n\n\t\t\t\tSAILOR\n\t\tNo.", "MARIETTA\n\t\tWell, you be careful with that boy,\n\t\tLula.\n\n\t\t\t\tLULA\n\t\tSailor ain’t a boy no more, mama.", "SAILOR\n\t\t\t(instantly pulling away \n\t\t\tfrom Marietta)\n\t\tWhat are you, sick?... I’m with Lula.", "Marietta leaves her Cadillac Seville in her driveway and enters the \nhouse. We can hear her calling out for Lula in the distance. The", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "Tears are pouring down Marietta’s cheeks. She holds Lula to her and \nLula does not resist. Lula just stares at Santos.", "JOHNNIE\n\t\tActually, I’m lookin’ for Marietta’s\n\t\tdaughter, Lula. Her and ’er beau", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "around, gets in and looks over at Lula, who breaks down crying harder. \nSailor starts the car and takes off.", "Sailor and Lula are walking down the carpeted stairs when Sailor is \ncalled by BOB RAY LEMON, who is coming down towards them fast. Marietta \nstands at the top - watching.", "MARIETTA\n\t\tWell stop worryin’ about me and \n\t\tstart worryin’ about how you’re \n\t\tgonna get that Lula back here and \n\t\taway from that murderer.", "152. INT. MARIETTA FORTUNE’S HOUSE - EVENING/\n153. INT. LULA FORTUNE’S HOUSE - EVENING - (SIX YEARS LATER)", "MARIETTA\n\t\tListen, Johnnie, Lula just called\n\t\tme. She knew you were in N.O., so\n\t\tthey left the city.", "Sailor and Lula drive off. Buck and Billy go back inside the Red Devil \nstation. Guess who is over the corner cleaning nuts and bolts with a \ntoothbrush and gasoline ... It’s DELL!", "SAILOR\n\t\tWhat do you mean by necessary? She’s\n\t\tprob’ly already called the cops, my\n\t\tparole officer, her p.i. boyfriend\n\t\tJohnnie Farragut.", "JOHNNIE\n\t\tI’ll locate Lula, Marietta, and if\n\t\tshe’s with the Ripley boy, I’ll", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat.", "SAILOR\n\t\tWhattya mean?\n\n\t\t\t\tMARIETTA\n\t\tWell, Johnnie told me you used to\n\t\tdrive for Clyde and Santos..." ], [ "SANTOS\n\t\tShoot him? Like with a gun?\n\n\t\t\t\tMARIETTA\n\t\tYes.", "SANTOS\n\t\tSimple? Kill him?... How?\n\n\t\t\t\tMARIETTA\n\t\tThat’s your business... I don’t care\n\t\thow.", "Santos’ arms begin to go around Lula. Lula lets out a blood-curdling \nscream and shakes like a leaf on a tree. Santos grabs her hard - in a", "SANTOS\n\t\tExplain it... I told you.\n\n\t\t\t\tMARIETTA\n\t\tShoot him.", "SANTOS\n\t\tLook at me... There’s no turning back \n\t\ton this... I’m gonna kill Sailor...\n\t\tThat’s for sure.", "SANTOS\n\t\tWrong! It’s much better to blow a\n\t\thole in the back of the head ...", "SANTOS\n\t\tWell, like kill him with the atomic\n\t\tbomb?\n\n\t\t\t\tMARIETTA\n\t\tSantos...", "SANTOS\n\t\tShoot Sailor in the head with a \n\t\tgun... Now I’m beginning to get", "PERDITA\n\t\tDoes that girlfriend of yours know\n\t\tthat her mama and Santos killed her\n\t\tdaddy?", "The front door of the hotel opens and in walks Santos. He seems to know \nexactly where Marietta is and steps to the door of the sitting room off \nthe lobby. He stands in the doorway and smiles at Marietta.", "SANTOS\n\t\tYou want me to shoot Sailor in the\n\t\tbrains with a gun. \n\n\t\t\t\tMARIETTA\n\t\tYes.", "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "The Manager and Desk Clerk bow to Marietta and Santos and go back \nthrough the lobby. Santos walks over to Marietta. Marietta stands.", "SANTOS\n\t\tYou give me your permission to kill\n\t\tJohnnie Farragut.", "MARIETTA\n\t\tSantos... You kill that Sailor, \n\t\totherwise he’s gonna turn my baby\n\t\tagainst me.", "MARIETTA\n\t\t\t(whisper)\n\t\tSantos... No... Please, Santos...", "Santos is gonna wipe away those tears\n\t\tand make you happy... Come on, let’s\n\t\tget outta here.", "MARIETTA\n\t\tYes... Get rid of him.\n\n\t\t\t\tSANTOS\n\t\tHow would I do that? Send him on a\n\t\ttrip - like maybe to Hawaii?", "SANTOS\n\t\tLike an accident where maybe Lula\n\t\tmight also get hurt?\n\n\t\t\t\tMARIETTA\n\t\tNO... For God’s sakes, Santos!", "Santos lifts one hand up to Marietta’s chin and raises her face up \ntowards his." ], [ "CUT TO:\n\n140. INT. PERDITA DURANGO’S HOUSE - NIGHT", "PERDITA\n\t\tDoes that girlfriend of yours know\n\t\tthat her mama and Santos killed her\n\t\tdaddy?", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "We see the photo now. In it are Perdita along with her sister, Juana, \nand her husband, Reggie, whom we recognize as the killers of Johnnie.", "Sailor crawls in the back seat and sees Perdita just as she floors it \nand they take off in a cloud of dust.", "Bobby lowers his hands into the front of Perdita’s blouse and cups her \nbreasts. She burns the back of his left wrist with her cigarette.", "keeps his right foot on her chest while he blows the back of his wounded \nwrist. Perdita shoves his leg to one side and rolls away. She stand up \nand spits at him.", "Bobby enters the bathroom and starts to urinate.\n\n\t\t\t\t\t\t\t\tCUT TO:\n\n132. EXT. PERDITA DURANGO’S HOUSE - DAY", "LULA\n\t\t\t(nods)\n\t\tShe got me an abortion...\n\nCUT TO:", "PERDITA\n\t\t\t(laughs)\n\t\tYou still screwing sixteen-year-olds\n\t\tin the ass?\n\nBobby keeps circling.", "BOBBY\n\t\tDon’t look like you.\n\nBobby turns around and leans down and puts his face next to Perdita’s \nfrom behind.", "Bobby jumps back, then grabs Perdita’s hair and pulls her over the couch \nonto the floor. Neither of them speak. She tries to stand, but Bobby", "Reacting to the shot, Perdita jams the gear shift into reverse and peels \nout, knocking the deputy down.\n\n\t\t\t\t\t\t\t\tCUT TO:", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "(Sailor doesn’t answer -\n\t\t\tPerdita smiles)\n\t\tDoes she know her own daddy was one \n\t\tof the biggest drug dealers around -", "PERDITA\n\t\tI know... I remember.\n\n\t\t\t\tSAILOR\n\t\tWell?...", "PERDITA\n\t\tI ain’t heard of nothin’.\n\n\t\t\t\tSAILOR\n\t\tThanks...\n\nSailor goes back to his car and takes off.", "DEPUTY\n\t\tWaitin’ for somebody, Miss?\n\n\t\t\t\tPERDITA\n\t\tMi esposo. He’s in the feed store\n\t\tpicking up some supplies.", "Lula and Sailor kiss. In the middle of the kiss, the woman’s \ncreepy/crazy laugh is heard again in the distance and Lula’s eyes snap \nopen with a kind of fear.", "LULA\n\t\tThat was a accident. I bet both our\n\t\tasses Bobby Peru done murdered all\n\t\tkinds of people, and meant it, too." ], [ "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "Lula waits just by the lobby door of the hotel. In the back of the \nlobby in the shadows is an ancient, old BLACK MAN who stares at her.", "Lula is standing in the bathroom of their room at the Hotel fooling with \nher hair in front of the mirror. Sailor can see her through the doorway \nfrom where he lays on the bed.", "It’s very quiet in the hotel room and the clock says four a.m. Lula and \nSailor are lying in bed arm in arm. Sailor is fast asleep - snoring. \nLula is wide awake.", "They stare at each other. Lula suddenly feels sick to her stomach and \nslumps down on the edge of the bed.", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "Sailor and Lula lay on the bed in the Cape Fear Hotel listening to the \nfan creak.", "CUT TO:\n\n139. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "22. INT. CAPE FEAR HOTEL - DAY\n\nLula’s eyes look off, remembering.", "Lula lays very still on the bed. Her head is close to the small \nturquoise radio on the bedside table. She is listening to a piece of", "His hand moves down over her breasts - down across her stomach - and \ndown. Lula’s left hand opens and spreads wide.", "CUT TO:\n\n161. INT. LULA’S CAR - LATE AFTERNOON/EVENING", "137. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT\n\nSailor bends over the bed and kisses Lula’s hair above her left ear.", "The room is large but cheap. Lula strips off the dishwater grey \nbedspread and tosses it over by the bureau. Sailor looks out the broken \nwindow.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "Sailor and Lula are just finishing making love in their room. As Lula \nclimaxes, her left hand opens and spreads wide. The lay quietly for a \nmoment.", "Lula feels around on the floor with one hand until she finds the \ncigarette. Sirens can be heard up ahead.", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat." ], [ "PERDITA\n\t\tThat guy Sailor came around this\n\t\tafternoon... Asked me if there was\n\t\ta contract out on ’im.", "Sailor fires his .32 at Bobby. There are no live bullets in his pistol. \nIt just makes a dry click. Bobby smiles and is just about to kill", "Bobby nods to Lula and offers a hand to Sailor.\n\n\t\t\t\tBOBBY\n\t\tBobby Peru, just like the country.\n\nSparky and Buddy laugh.", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "LULA\n\t\t\t(can’t look at him)\n\t\tYeah... He was lookin’ for you.\n\n\t\t\t\tSAILOR\n\t\tYou talk to ’im some?...", "That’s all it takes. The gang is on him. Sailor tries to defend \nhimself, but one big punch to his nose sends him down and out. Blood \nbegins to pour from his swelling nose.", "PERDITA\n\t\tI ain’t heard of nothin’.\n\n\t\t\t\tSAILOR\n\t\tThanks...\n\nSailor goes back to his car and takes off.", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "SAILOR\n\t\tSo how’d he finally nail you? Right \n\t\tthere in the kitchen? \n\n\t\t\t\tLULA\n\t\tNo, he picked me up.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "immediately. Suddenly everything is deathly quiet. Sailor gives the \nman a fully extended “Reno point”...", "MARIETTA\n\t\tAll right... I want you ... to ...\n\t\tkill ... Sailor... As simple as that.", "LULA\n\t\tYou think he saw us?\n\n\t\t\t\tSAILOR\n\t\tWho knows, baby?", "of the road. Sailor slows down to a crawl. He and Lula turn to each \nother - they’ve just seen TWO DEAD BODIES. One close to the side of the", "(Sailor doesn’t answer -\n\t\t\tPerdita smiles)\n\t\tDoes she know her own daddy was one \n\t\tof the biggest drug dealers around -", "There is a knock on the door which wakes Lula from her nap. She opens \nthe door. Bobby Peru stands outside.\n\n\t\t\t\tBOBBY\n\t\tHey, pretty woman... Sailor here?", "Sailor and Lula both laugh. Up ahead, Sailor spots a hitchhiker. He \nslows to pick him up.", "Pace releases Lula’s hand and puts his own in Sailor’s. Sailor grips it \ngently but firmly, pumps once, then lets go.", "SAILOR\n\t\t\t(to Pace)\n\t\tOiga, amigo. If ever somethin’", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor." ], [ "The opposite wall and bottles get covered with blood. Juana and Reggie \nrace into each other’s arms and kiss right above Johnnie’s dead, \nbloodied head.", "We see the photo now. In it are Perdita along with her sister, Juana, \nand her husband, Reggie, whom we recognize as the killers of Johnnie.", "LULA\n\t\tThat was a accident. I bet both our\n\t\tasses Bobby Peru done murdered all\n\t\tkinds of people, and meant it, too.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "PERDITA\n\t\tDoes that girlfriend of yours know\n\t\tthat her mama and Santos killed her\n\t\tdaddy?", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "CUT TO:\n\n140. INT. PERDITA DURANGO’S HOUSE - NIGHT", "SANTOS\n\t\tShoot him? Like with a gun?\n\n\t\t\t\tMARIETTA\n\t\tYes.", "Bobby Peru.", "PERDITA\n\t\t\t(laughs)\n\t\tYou still screwing sixteen-year-olds\n\t\tin the ass?\n\nBobby keeps circling.", "is by the front door holding his pistol on the two old guys. When Bobby \nfinishes tying the money bag - he lifts the shotgun and blows a hole", "and dumped ’em in a trench. Bobby\n\t\tPeru prob’ly killed the most.", "SANTOS\n\t\tExplain it... I told you.\n\n\t\t\t\tMARIETTA\n\t\tShoot him.", "keeps his right foot on her chest while he blows the back of his wounded \nwrist. Perdita shoves his leg to one side and rolls away. She stand up \nand spits at him.", "Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob \nRay’s brain. From there, Sailor steps firmly into the crazy zone.", "of the road. Sailor slows down to a crawl. He and Lula turn to each \nother - they’ve just seen TWO DEAD BODIES. One close to the side of the", "Sailor and Lula drive off. Buck and Billy go back inside the Red Devil \nstation. Guess who is over the corner cleaning nuts and bolts with a \ntoothbrush and gasoline ... It’s DELL!", "SANTOS\n\t\tSimple? Kill him?... How?\n\n\t\t\t\tMARIETTA\n\t\tThat’s your business... I don’t care\n\t\thow.", "The BAND segues into “Slaughter House” and it’s a hot one. Sailor grabs \nLula and they start dancing like two jacked-up spastics in an electrical", "gets up. He puts his arm around Lula and they go back to her car. \nSailor helps Lula in on her side and closes the door for her. He goes" ], [ "Lula hangs up and throws her glass of water at a picture of her mother - \ndraining it.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor takes the cigarette out of Lula’s hand and puts it into the \nashtray by her bed. He pulls her to him and kisses her throat.", "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor.", "Sailor and Lula are just finishing making love in their room. As Lula \nclimaxes, her left hand opens and spreads wide. The lay quietly for a \nmoment.", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Sailor looks at Lula. Her eyes are full of tears and she lets them \nloose. Sailor tries to smile.", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "around, gets in and looks over at Lula, who breaks down crying harder. \nSailor starts the car and takes off.", "Lula is standing in the bathroom of their room at the Hotel fooling with \nher hair in front of the mirror. Sailor can see her through the doorway \nfrom where he lays on the bed.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "The room is large but cheap. Lula strips off the dishwater grey \nbedspread and tosses it over by the bureau. Sailor looks out the broken \nwindow.", "the car. Lula kisses Sailor on the cheek, puts her head down sideways \non his lap and goes to sleep. Sailor drives.", "SAILOR\n\t\tYou really are dangerously cute, \n\t\thoney. I gotta admit it.\n\nLula lights a cigarette.", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "Sailor turns it up full blast and he and Lula dance hard until they \ndisappear in the dust.\n\n\t\t\t\t\t\t\t\tCUT TO:" ], [ "LULA\n\t\tSail?\n\n\t\t\t\tSAILOR\n\t\tUh huh?\n\n\t\t\t\tLULA\n\t\tLet’s leave here.", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "around, gets in and looks over at Lula, who breaks down crying harder. \nSailor starts the car and takes off.", "Bobby leaves smiling and slams the door. Lula stands trembling clicking \nher heels together.\n\n\t\t\t\tLULA\n\t\t\t(whispers)\n\t\tSailor...", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "Sailor takes the cigarette out of Lula’s hand and puts it into the \nashtray by her bed. He pulls her to him and kisses her throat.", "LULA\n\t\tMama, Sailor’s in deep trouble here.\n\t\tI just can’t leave him.", "SAILOR\n\t\t\t(instantly pulling away \n\t\t\tfrom Marietta)\n\t\tWhat are you, sick?... I’m with Lula.", "LULA\n\t\tSailor? You know what?\n\n\t\t\t\tSAILOR\n\t\tI know you ain’t particularly pleased\n\t\tbein’ here.", "SAILOR\n\t\tHe ain’t never known me, Lula, so \n\t\tthere ain’t much for him to forget.", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "LULA\n\t\tNever mind where... Get outta here...\n\t\tI mean it, Sailor.\n\n\t\t\t\tSAILOR\n\t\tI’m goin’.", "SAILOR\n\t\tBoys frightened, Lula. This ain’t\n\t\tno good.\n\n\t\t\t\tLULA\n\t\tReally, Sail, I’ll be okay.", "Sailor looks at Lula. Her eyes are full of tears and she lets them \nloose. Sailor tries to smile.", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "LULA\n\t\tYou still got plenty energy for \n\t\tme, baby.\n\nLula has had enough of the girl staring at Sailor.", "Sailor pulls off the road onto the shoulder of the highway and stops. \nLula opens her door and jumps out.", "smile that exposes his jagged yellow teeth. Lula opens the door for \nhim, and after he loads his stuff, Sailor takes off down the highway.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor." ], [ "Sailor turns around from his sprawled on the bed position watching The \nDating Game show.\n\n\t\t\t\tSAILOR\n\t\t’Cause I’m only gonna sing that song\n\t\tto my wife.", "Sailor starts to sing an Elvis Presley song, “Love Me.” As the band \njoins in with a perfect back-up - Sailor sings to Lula. The Speed Metal \ncrowd is mesmerized.", "Sailor, with a giant blue nose, looks into Lula’s eyes and sings “Love \nMe Tender.”", "LULA\n\t\tThat you, Sail, honey?\n\n\t\t\t\tSAILOR\n\t\tThe only one.\n\nLula opens her eyes and looks at him.", "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "We see an empty carpeted hallway and can hear a ballroom dance band \nplaying in the distance. Sailor obviously slightly drunk, comes down", "SAILOR\n\t\tHe ain’t never known me, Lula, so \n\t\tthere ain’t much for him to forget.", "SAILOR\n\t\tOkay, honey, I’ll see you later.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor. He leans in and whispers in Sailor’s ear.", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "SAILOR\n\t\tYou know, Lula, I never told you \n\t\twhat all I was doin’ before I met you.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "LULA\n\t\tSailor? You know what?\n\n\t\t\t\tSAILOR\n\t\tI know you ain’t particularly pleased\n\t\tbein’ here.", "Lula pulls Sailor over to her and kisses him soft on the mouth.\n\n\t\t\t\tLULA\n\t\tYou move me, Sailor, you really do.\n\t\tYou mark me the deepest.", "Lula gets quiet and sucks on her beer bottle.\n\n\t\t\t\tSAILOR\n\t\tWhat’s wrong, sweetheart? Somethin’\n\t\tbotherin’ you?", "SAILOR\n\t\tI know. I kept walkin’, I headed for\n\t\tyour house, only it wasn’t your", "SAILOR\n\t\tOughta make ’em happy.\n\n\t\t\t\tLULA\n\t\tSo where’d you say you was?", "SAILOR\n\t\tI know this ain’t easy, Lula, but\n\t\tI ain’t gonna let things get no\n\t\tworse, I promise." ], [ "Sailor starts to sing an Elvis Presley song, “Love Me.” As the band \njoins in with a perfect back-up - Sailor sings to Lula. The Speed Metal \ncrowd is mesmerized.", "The BAND segues into “Slaughter House” and it’s a hot one. Sailor grabs \nLula and they start dancing like two jacked-up spastics in an electrical", "Sailor turns it up full blast and he and Lula dance hard until they \ndisappear in the dust.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Drenched in sweat, Sailor and Lula sit at a corner table chug-a-lugging \n“Rolling Rock” during the band’s break. Lula notices a girl in the", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "Sailor and the bleached blonde in the lavender dress are together on the \ndance floor. Lula sees them, goes over to the bar, picks up a beer", "Sailor, with a giant blue nose, looks into Lula’s eyes and sings “Love \nMe Tender.”", "96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT\n\nLula and Sailor cruise the dark streets.", "storm. a few PUNKS actually stop dancing to watch Sailor and Lula. \nThey thought they’d seen everything.", "moves close to Lula and rubs up against her as he dances by. Sailor \nturns to the lead guitar player and signals him to stop the music", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat.", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "CU of Lula’s dancing feet in black spiked-heel sandals exposing blurred \nblood red toenails. Lula and Sailor are at it again - dancing as if \nplugged in to the main power plant.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "158. INT. TRAIN STATION - EVENING\n\nLula sees Sailor as soon as she opens the door. He is sitting in an \norange plastic chair against the opposite wall, smoking a cigarette.", "Sailor and Lula pass a sign that reads “NEW ORLEANS - 26 MILES”. Sailor", "Lula and her friend, BEANY THORN, sit at a table drinking rum Coca-Colas \nwhile watching and listening to a white blues band called THE BLEACH", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Sailor and Lula are in a Shell station just outside of Houston. Sailor \nis filling the Thunderbird with regular. An OLD MAN sits near the pumps" ], [ "That’s all it takes. The gang is on him. Sailor tries to defend \nhimself, but one big punch to his nose sends him down and out. Blood \nbegins to pour from his swelling nose.", "Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob \nRay’s brain. From there, Sailor steps firmly into the crazy zone.", "Sailor hits the ground - losing the Smith as he falls. He puts his hand \nover his hosieried head and keeps his face in the dirt until the deputy \norders him to stand up.", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "Sailor continues walking down the street. A GANG OF INSANE KILLER \nTEENAGERS on PCP appear and come towards Sailor. They circle around \nhim, coming in closer for the kill.", "The Idiot Punk tries to hit Sailor, but Sailor slaps him so hard his \nknees almost bend backwards. The Idiot Punk goes down - fighting back \ntears and holding his cheek.", "through the chest of one of the old men. Sailor goes into shock.", "Sailor looks at Lula. Her eyes are full of tears and she lets them \nloose. Sailor tries to smile.", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "Sailor starts to slow down. The highway is suddenly littered with \nclothes strewn everywhere and two open suitcases smashed near the side", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Sailor finds her sitting on the ground, leaning against the passenger \nside of the Thunderbird. Lula’s eyes are red and wet but she isn’t \ncrying. Sailor kneels down next to her.", "CU of Sailor’s eyes - he remembers.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor turns around and starts running back. The gang watches him go.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor’s eyes seem to be thinking back...\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor opens his eyes and drags himself and his giant swollen nose up on \nhis feet. The gang still stands around him.\n\n\t\t\t\tGANG MEMBER\n\t\tYou had enough, asshole?", "We see an empty carpeted hallway and can hear a ballroom dance band \nplaying in the distance. Sailor obviously slightly drunk, comes down", "Sailor’s eyes suddenly see the Good Witch through his closed eyelids. \nHis mouth speaks through closed lips.\n\n\t\t\t\tSAILOR\n\t\tThe Good Witch...", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "bottle and throws it at Sailor. The bottle bounces hard off his back \nand clangs to the floor, bouncing but not breaking. Sailor turns around" ], [ "Sailor turns around from his sprawled on the bed position watching The \nDating Game show.\n\n\t\t\t\tSAILOR\n\t\t’Cause I’m only gonna sing that song\n\t\tto my wife.", "Sailor starts to sing an Elvis Presley song, “Love Me.” As the band \njoins in with a perfect back-up - Sailor sings to Lula. The Speed Metal \ncrowd is mesmerized.", "Sailor, with a giant blue nose, looks into Lula’s eyes and sings “Love \nMe Tender.”", "LULA\n\t\tThat you, Sail, honey?\n\n\t\t\t\tSAILOR\n\t\tThe only one.\n\nLula opens her eyes and looks at him.", "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "We see an empty carpeted hallway and can hear a ballroom dance band \nplaying in the distance. Sailor obviously slightly drunk, comes down", "SAILOR\n\t\tHe ain’t never known me, Lula, so \n\t\tthere ain’t much for him to forget.", "SAILOR\n\t\tOkay, honey, I’ll see you later.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor. He leans in and whispers in Sailor’s ear.", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "She sees him.\n\n\t\t\t\tSAILOR\n\t\tLULA!!!!\n\n\t\t\t\tLULA\n\t\tSAILOR!!!!", "SAILOR\n\t\tYou know, Lula, I never told you \n\t\twhat all I was doin’ before I met you.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "LULA\n\t\tSailor? You know what?\n\n\t\t\t\tSAILOR\n\t\tI know you ain’t particularly pleased\n\t\tbein’ here.", "Lula pulls Sailor over to her and kisses him soft on the mouth.\n\n\t\t\t\tLULA\n\t\tYou move me, Sailor, you really do.\n\t\tYou mark me the deepest.", "Lula gets quiet and sucks on her beer bottle.\n\n\t\t\t\tSAILOR\n\t\tWhat’s wrong, sweetheart? Somethin’\n\t\tbotherin’ you?", "SAILOR\n\t\tI know. I kept walkin’, I headed for\n\t\tyour house, only it wasn’t your", "SAILOR\n\t\tOughta make ’em happy.\n\n\t\t\t\tLULA\n\t\tSo where’d you say you was?", "SAILOR\n\t\tI know this ain’t easy, Lula, but\n\t\tI ain’t gonna let things get no\n\t\tworse, I promise." ], [ "Lula hangs up and throws her glass of water at a picture of her mother - \ndraining it.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "A hand (Lula’s) reaches into the pocket of a coat in her mother’s \ncloset. The hand comes out clutching car keys.", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "Tears are pouring down Marietta’s cheeks. She holds Lula to her and \nLula does not resist. Lula just stares at Santos.", "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "The livingroom is on fire.\n\nThe livingroom is on fire and we move upstairs - Lula races through the \nsmoke-filled hallway to her mother’s bedroom.", "They stare at each other. Lula suddenly feels sick to her stomach and \nslumps down on the edge of the bed.", "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "CU of Lula setting fire to the pregnant note in the ashtray.\n\nDISSOLVE TO:", "They pass an automobile accident where a man has been thrown into the \ncurb - his head broken open and bleeding. The ambulance is just \narriving. Lula looks away.", "His hand moves down over her breasts - down across her stomach - and \ndown. Lula’s left hand opens and spreads wide.", "Her mother laughs a wild, crazy laugh - exactly the same laugh Lula \nheard on the porch of the Cape Fear Hotel.", "Lula enters her room and cranks up her stereo. Speed metal music jumps \nup to around one hundred twenty decibels.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Suddenly, Lula sees an image in her mind that she does not recognize. \nShe sees an abstract image of reflected light with two eyes looking \nthrough it at her. The image puzzles her.\n\n(The Music continues over)", "Sailor takes the cigarette out of Lula’s hand and puts it into the \nashtray by her bed. He pulls her to him and kisses her throat.", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor.", "ECU of Lula’s eyes. Her eye makeup runs like black sweat over eyes and \ndown her cheeks as in Sailor’s dream.", "Lula starts to reply, then stops. She stares straight ahead, gripping \nthe wheel hard. Suddenly, she pulls over to the side of the road, turns \noff the engine and gets out of the car." ], [ "MARIETTA\n\t\tI want you to get rid of Sailor.\n\n\t\t\t\tSANTOS\n\t\tGet rid of him?", "MARIETTA\n\t\tI want you to take care of Sailor, so\n\t\the won’t ever be able to bother my\n\t\tbaby again.", "MARIETTA\n\t\tAll right... I want you ... to ...\n\t\tkill ... Sailor... As simple as that.", "Sailor steps up to a urinal and starts doing his business. Marietta \nsuddenly appears - drunk and laughing. She grabs him and pulls him into \na stall - closing and locking the door behind them.", "SANTOS\n\t\tYou want me to shoot Sailor in the\n\t\tbrains with a gun. \n\n\t\t\t\tMARIETTA\n\t\tYes.", "MARIETTA\n\t\tLula’s gone off with Sailor.\n\n\t\t\t\tSANTOS\n\t\tWhat do you want me to do about it?", "SANTOS\n\t\tShoot him? Like with a gun?\n\n\t\t\t\tMARIETTA\n\t\tYes.", "MARIETTA\n\t\tSantos... You kill that Sailor, \n\t\totherwise he’s gonna turn my baby\n\t\tagainst me.", "SANTOS\n\t\tSimple? Kill him?... How?\n\n\t\t\t\tMARIETTA\n\t\tThat’s your business... I don’t care\n\t\thow.", "SAILOR\n\t\tWhattya mean?\n\n\t\t\t\tMARIETTA\n\t\tWell, Johnnie told me you used to\n\t\tdrive for Clyde and Santos...", "We see Marietta standing in a carpeted hallway above the ballroom. \nDance band music can be heard in the distance. Sailor appears coming up", "MARIETTA\n\t\tHey, Sailor boy, you wanna fuck Lula’s\n\t\tmama?...\n\n\t\t\t\tSAILOR\n\t\tNo.", "MARIETTA\n\t\tWell, you be careful with that boy,\n\t\tLula.\n\n\t\t\t\tLULA\n\t\tSailor ain’t a boy no more, mama.", "SAILOR\n\t\tI’m afraid she is, baby.\n\nSailor kneels down next to the girl and runs his hand gently across her \nforehead.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "She starts trying to French kiss Sailor when an OLD MAN comes in to \nurinate and Sailor and Marietta freeze - in a kiss. Sailor is going", "SAILOR\n\t\t\t(instantly pulling away \n\t\t\tfrom Marietta)\n\t\tWhat are you, sick?... I’m with Lula.", "stand aghast. Sailor stares up at Marietta. Both their eyes burning \nwith hate.", "Sailor fires his .32 at Bobby. There are no live bullets in his pistol. \nIt just makes a dry click. Bobby smiles and is just about to kill", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond." ], [ "CUT TO:\n\n140. INT. PERDITA DURANGO’S HOUSE - NIGHT", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "Bobby enters the bathroom and starts to urinate.\n\n\t\t\t\t\t\t\t\tCUT TO:\n\n132. EXT. PERDITA DURANGO’S HOUSE - DAY", "PERDITA\n\t\tDoes that girlfriend of yours know\n\t\tthat her mama and Santos killed her\n\t\tdaddy?", "Sailor crawls in the back seat and sees Perdita just as she floors it \nand they take off in a cloud of dust.", "Marietta leaves her Cadillac Seville in her driveway and enters the \nhouse. We can hear her calling out for Lula in the distance. The", "keeps his right foot on her chest while he blows the back of his wounded \nwrist. Perdita shoves his leg to one side and rolls away. She stand up \nand spits at him.", "The livingroom is on fire and Lula throws open the door to her mother’s \nbedroom just in time to see Marcello Santos leaving through a window.", "Bobby lowers his hands into the front of Perdita’s blouse and cups her \nbreasts. She burns the back of his left wrist with her cigarette.", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "We see the photo now. In it are Perdita along with her sister, Juana, \nand her husband, Reggie, whom we recognize as the killers of Johnnie.", "Lula enters her room and cranks up her stereo. Speed metal music jumps \nup to around one hundred twenty decibels.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Bobby jumps back, then grabs Perdita’s hair and pulls her over the couch \nonto the floor. Neither of them speak. She tries to stand, but Bobby", "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "Lula sits in the car in the middle of a giant traffic jam. She is still \ncrying and horns are honking all around them.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Perdita stubs out her Marlboro in the ashtray.\n\n\t\t\t\tPERDITA\n\t\tGracias, officer.", "PERDITA\n\t\tComin’ up on it now, Bobby.\n\n\t\t\t\t\t\t\t\tCUT TO:", "DEPUTY\n\t\tWaitin’ for somebody, Miss?\n\n\t\t\t\tPERDITA\n\t\tMi esposo. He’s in the feed store\n\t\tpicking up some supplies.", "Sailor rips open the package and pulls a nylon leg over his head, \nstretching the calf part to fit.\n\nPerdita pulls up in front of the store. The street is deserted.", "Bobby lets the screen door bang shut behind him as he comes in and roams \naround the livingroom.\n\n\t\t\t\tPERDITA\n\t\tNice of you to drop by." ], [ "Bobby laughs. He has a lopsided grin that exposes only three brownish \nfront teeth and he has flat black eyes that seem to reflect no light.", "ya Lula... Well... It’s more’n me\n\t\tkillin’ Bob Ray Lemon...", "be thankin’ him for that. That Bob\n\t\tRay Lemon they say was comin’ after\n\t\tthe both of ’em. Why am I tellin’", "SAILOR\n\t\tI killed Bob Ray Lemon, didn’t I?", "Bobby moves in very close to her - Lula’s trembling. Bobby puts his \nhand on her neck and moves it up and down behind her ear.", "Sailor and Lula are walking down the carpeted stairs when Sailor is \ncalled by BOB RAY LEMON, who is coming down towards them fast. Marietta \nstands at the top - watching.", "As Bob Ray passes Lula on the stairs - he puts his hand between her \nlegs. Sailor starts to see red. Bob Ray smiles and steps down to", "Bobby nods to Lula and offers a hand to Sailor.\n\n\t\t\t\tBOBBY\n\t\tBobby Peru, just like the country.\n\nSparky and Buddy laugh.", "The deputy recovers and comes up on one knee with his revolver clasped \nin both hands. He fires his first shot into Bobby’s thigh and his", "SAILOR\n\t\tWhen did you talk to Lula?\n\n\t\t\t\tBOBBY\n\t\tTalked to her this afternoon...\n\t\tWhile you was out.", "143. EXT. RAMOS FEED STORE - DAY\n\nBobby slips the panty hose over his head and adjusts it. His face looks \ncrooked and distorted.", "BOBBY\n\t\t\t(laughs out loud)\n\t\tNo shit?!?! You know him?\n\n\t\t\t\tPERDITA\n\t\tUsed to.", "The two old guys have their hands in the air and are moving back behind \nthe counter. Bobby is just finishing tying off a bag of money. Sailor", "Bobby and Sailor enter the feed store. Bobby raises his sawed-off \nshotgun and points it at the TWO OLD MEN behind the counter.", "is by the front door holding his pistol on the two old guys. When Bobby \nfinishes tying the money bag - he lifts the shotgun and blows a hole", "Bobby looks down at his hand, flexs it.\n\n\t\t\t\tBOBBY\n\t\tFour years.\n\n\t\t\t\tSPARKY\n\t\tBobby was at Cao Ben.", "Two men, SPARKY and BUDDY, both about forty, walk up to Red. One of \nthem wears a grey baseball cap with a Confederate flag on it and the \nother has an LBJ straw Stetson.", "SAILOR\n\t\tHell, peanut, you stuck with me after\n\t\tI planted Bob Ray Lemon. A man can’t\n\t\task for more than that.", "BOBBY\n\t\tI been studyin’ a situation over in\n\t\tLobo, take two men to handle it.\n\n\t\t\t\tSAILOR\n\t\tWhat’s that?", "With all the strength she can muster, Lula slaps Bobby across the face.\n\n\t\t\t\tLULA\n\t\tGET OUT!!!\n\nBobby grabs on to her hard." ], [ "LULA\n\t\tMama, Sailor’s in deep trouble here.\n\t\tI just can’t leave him.", "around, gets in and looks over at Lula, who breaks down crying harder. \nSailor starts the car and takes off.", "Sailor kisses her and climbs into the back seat and lays down. Lula \nslides behind the wheel and lights up a More. She winks goodbye to the \nold man and wheels the car out towards the big beyond.", "LULA\n\t\tSail?\n\n\t\t\t\tSAILOR\n\t\tUh huh?\n\n\t\t\t\tLULA\n\t\tLet’s leave here.", "SAILOR\n\t\tBoys frightened, Lula. This ain’t\n\t\tno good.\n\n\t\t\t\tLULA\n\t\tReally, Sail, I’ll be okay.", "SAILOR\n\t\tWhat could I be up to, Lula?\n\n\t\t\t\tLULA\n\t\tHe’s a stone fuckin’ criminal, honey,\n\t\tand you ain’t.", "Lula remembers some “moments” in her life with Sailor: (Music continues \nover)\n\nWhen he kissed her outside the jail gate.", "LATER - IN THE DARK\n\nSailor and Lula are in bed. Lula lays in Sailor’s arms.", "Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to \nhim and tosses their suitcase in the backseat.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "gets up. He puts his arm around Lula and they go back to her car. \nSailor helps Lula in on her side and closes the door for her. He goes", "It’s very quiet in the hotel room and the clock says four a.m. Lula and \nSailor are lying in bed arm in arm. Sailor is fast asleep - snoring. \nLula is wide awake.", "Sailor finds her sitting on the ground, leaning against the passenger \nside of the Thunderbird. Lula’s eyes are red and wet but she isn’t \ncrying. Sailor kneels down next to her.", "LULA\n\t\tSailor? You know what?\n\n\t\t\t\tSAILOR\n\t\tI know you ain’t particularly pleased\n\t\tbein’ here.", "The girl dies. Sailor and Lula hold real still for a moment. Lula \nstarts to cry.", "Bobby leaves smiling and slams the door. Lula stands trembling clicking \nher heels together.\n\n\t\t\t\tLULA\n\t\t\t(whispers)\n\t\tSailor...", "Sailor takes the cigarette out of Lula’s hand and puts it into the \nashtray by her bed. He pulls her to him and kisses her throat.", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "SAILOR\n\t\tHe ain’t never known me, Lula, so \n\t\tthere ain’t much for him to forget." ], [ "They pass an automobile accident where a man has been thrown into the \ncurb - his head broken open and bleeding. The ambulance is just \narriving. Lula looks away.", "They stare at each other. Lula suddenly feels sick to her stomach and \nslumps down on the edge of the bed.", "Somewhere in the hotel a woman laughs. It is a kind of wild, crazy \nlaugh, and for the few seconds it lasts, Lula’s face goes pale.", "Marietta takes Lula by the shoulders and looks straight at her. Lula’s \neyes are bloodshot, her hair is greasy and stringy, and her cheeks are \npale.", "Lula brushes away her bangs and frowns. She takes a cigarette from the \npack on the sink and lights it, then lets it dangle from her lips while \nshe teases her hair.", "Suddenly, Lula sees an image in her mind that she does not recognize. \nShe sees an abstract image of reflected light with two eyes looking \nthrough it at her. The image puzzles her.\n\n(The Music continues over)", "ECU of Lula’s eyes. Her eye makeup runs like black sweat over eyes and \ndown her cheeks as in Sailor’s dream.", "Sailor stands up and looks at Lula. Her eye makeup runs in dark streaks \ndown her face.", "away. Lula’s gaze goes to a reflection of golden light on a windshield. \nIt is the same abstract scene she saw before in her room in Big Tuna,", "Lula waits just by the lobby door of the hotel. In the back of the \nlobby in the shadows is an ancient, old BLACK MAN who stares at her.", "Lula starts to reply, then stops. She stares straight ahead, gripping \nthe wheel hard. Suddenly, she pulls over to the side of the road, turns \noff the engine and gets out of the car.", "Lula and Sailor kiss. In the middle of the kiss, the woman’s \ncreepy/crazy laugh is heard again in the distance and Lula’s eyes snap \nopen with a kind of fear.", "Lula feels around on the floor with one hand until she finds the \ncigarette. Sirens can be heard up ahead.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor.", "It’s very quiet in the hotel room and the clock says four a.m. Lula and \nSailor are lying in bed arm in arm. Sailor is fast asleep - snoring. \nLula is wide awake.", "Tears are pouring down Marietta’s cheeks. She holds Lula to her and \nLula does not resist. Lula just stares at Santos.", "when he opens the door. He steps across the large spot and finds Lula \njust waking up on the bed.", "CU the red hot ash of Lula’s cigarette as she inhales deeply. As she \nexhales a cloud of smoke she turns to Sailor.", "His hand moves down over her breasts - down across her stomach - and \ndown. Lula’s left hand opens and spreads wide.", "The room is large but cheap. Lula strips off the dishwater grey \nbedspread and tosses it over by the bureau. Sailor looks out the broken \nwindow." ], [ "The two old guys have their hands in the air and are moving back behind \nthe counter. Bobby is just finishing tying off a bag of money. Sailor", "Sailor pulls the T-Bird up front and hurries up to the screen door. \nFlies are buzzing all around. PERDITA DURANGO comes forward out of the \ndarkness inside.", "Sailor and Lula sit at the counter drinking double-sized cups of \ncommunity coffee. A MAN on the stool next to Sailor lights up a rum-\nsoaked crook.", "Sailor crawls in the back seat and sees Perdita just as she floors it \nand they take off in a cloud of dust.", "Sailor rips open the package and pulls a nylon leg over his head, \nstretching the calf part to fit.\n\nPerdita pulls up in front of the store. The street is deserted.", "Lula listens to Sailor brush his teeth, urinate into the toilet and \nflush it. Sailor comes out of the bathroom and climbs into bed.", "Sailor gets up from the bed and begins putting on his clothes. Lula is \npainting her toenails red.", "Lula and Beany laugh and swallow some of their drinks.\n\n\t\t\t\tBEANY\n\t\tSo, Sailor’s gettin’ out soon, and\n\t\tyou’re gonna see him?", "Sailor and Lula are in a Shell station just outside of Houston. Sailor \nis filling the Thunderbird with regular. An OLD MAN sits near the pumps", "Sailor and Lula both laugh. Up ahead, Sailor spots a hitchhiker. He \nslows to pick him up.", "96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT\n\nLula and Sailor cruise the dark streets.", "Sailor and Lula pass a sign that reads “NEW ORLEANS - 26 MILES”. Sailor", "SAILOR\n\t\tYou ready for this?\n\n\t\t\t\tLULA\n\t\tWe’ll find out in a hurry.", "137. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT\n\nSailor bends over the bed and kisses Lula’s hair above her left ear.", "Pace releases Lula’s hand and puts his own in Sailor’s. Sailor grips it \ngently but firmly, pumps once, then lets go.", "LULA\n\t\tI know, Sailor. Nothin’ is.\n\n\t\t\t\t\t\t\t\tCUT TO:", "Sailor and the bleached blonde in the lavender dress are together on the \ndance floor. Lula sees them, goes over to the bar, picks up a beer", "Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into \nher eyes.\n\n\t\t\t\tSAILOR\n\t\tIt’s okay by me, peanut.", "Lula sticks a More between her lips and lights it. She takes a deep \ndrag, blows out the smoke, and stares at Sailor.", "Bobby nods to Lula and offers a hand to Sailor.\n\n\t\t\t\tBOBBY\n\t\tBobby Peru, just like the country.\n\nSparky and Buddy laugh." ] ]

[ "What was the bad omen that Lula saw?", "What does Lula's mother ask Marcello Santos to do?", "What was Lula trying to hide in the hotel room?", "What does Sailor agree to do with Bobby Peru?", "What was wrong with Sailor's gun?", "What did Sailor tell Lula and her son after they picked him up from jail?", "After Sailor got knocked out by the gang, what did the vision tell him?", "What was the song that Sailor would sing only to his wife?", "Who hired the assailant that Sailor killed?", "Who else does Marietta hire to find Lula and Sailor, besides Farragut, when they leave to head to CA?", "Who is killed by Santos' minions?", "What secret does Perdita Durango know?", "What does Lula try to conceal while waiting in the hotel room?", "When does Peru reveal that he has been hired to kill Sailor?", "Who ends up killing Peru?", "What does Lulu do to her mother's photograph after Sailor is release from jail?", "What reason does Sailor give Lulu for leaving her and his child?", "What song will Sailor only sing to his wife?", "What band do Lula and Sailor see?", "Who does Sailor see when he is knocked out?", "What song will Sailor only sing to his wife?", "What does Lula do to her mother's picture?", "Who does Marietta hire to kill Sailor?", "Where does Perdita Durango live?", "Who hired Bobby Ray Lemon?", "Why does Sailor want to leave Lula and their child when he is released from prison?", "What does Lula see that she considers a bad omen?", "What are Sailor and Peru planning to rob?" ]

[ [ "A car accident where the only survivor died in front of Lula and Sailor", "The aftermath of a car accident involving 2 cars, with the sole survivor dying in front of her" ], [ "Track down Lula and Sailor and kill Sailor", "Track the family and kill Sailor" ], [ "That she was pregnant", "That she is pregnant. " ], [ "Rob a feed store", "Commit a robbery. " ], [ "It had fake ammunition", "It has dummy ammunition" ], [ "That he was leaving them because he is not good enough for them", "He's leaving them because he's not good enough for them." ], [ "Don't turn away from love", "Don't turn away from love, Sailor" ], [ "Love Me Tender", "Love Me Tender" ], [ "Lula's mother, Marietta Fortune", "Lula'smother Mariette Fortune" ], [ "Gangster Marcello Santos", "Johnnie Farragut, a private detective" ], [ "Farragut", "Farragut" ], [ "there is a contract out to kill Sailor", "That Sailor is under contract to be killed. " ], [ "she is pregant", "That she is pregnant. " ], [ "After shoot two clerk during the robbery", "During a robbery they were carrying out together" ], [ "He accidentally kills himself", "sheriff's deputy" ], [ "throws water on it", "Throws water over it. " ], [ "he is not good enough for them", "he's not good enough for them" ], [ "Love me Tender", "Love Me Tender" ], [ "Powermad", "Powermad" ], [ "Glinda the Good Witch", "glinda the good witch" ], [ "Love Me Tender", "love me tender" ], [ "throws water on it", "She throws water over it. " ], [ "Marcello Santos", "Marcello Santos" ], [ "Big Tuna, Texas", "Big tuna, texas" ], [ "Lula's mother", "Lula's mother. " ], [ "he doesnt feel good enough for them", "He isn't good enough for them" ], [ "a woman dying in a car accident", "A two car accident followed by the death of the sole survivor" ], [ "a feed store", "A feed store" ] ]

[ [ "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "Reginald Morton had certainly not made up his mind to ask Mary\nMasters to be his wife. Thinking of Mary Masters very often as he", "MARY MASTERS.\n\n\n\"If that don't fetch him,\" said Reginald, \"he is a poorer creature\nthan I take him to be.\"\n\n\"But I may send it?\"", "not known it. To Mary she would hardly speak a word. She appeared\nat dinner and called her husband Mr. Masters when she helped him to\nstew. All the afternoon she averred that her head was splitting, but", "\"I wonder whether you cared about Reginald all that time.\" In answer\nto this Mary only hid her face in the old woman's lap. \"Dear me! I", "her. Lady Ushant longed to ask a question, but she did not dare. And\nMary Masters longed to have one friend to whom she could confide her\nsecret,--but neither did she dare.", "he were to be altogether separated from Mary Masters. He couldn't\nseparate himself from her. It was all very well thinking of it,\ntalking of it, threatening it; but in truth he couldn't do it. There", "\"Of course there was no chance for me if he wanted her. But why\ndidn't they speak out, so that I could have gone away? Oh, Mr.\nMasters!\"\n\n\"It was only yesterday she knew it herself.\"", "Mary Masters, when Reginald Morton had turned his back upon her\nat the bridge, was angry with herself and with him, which was", "\"No, Miss Masters.\"\n\n\"Let me be Mary till I am Mrs. Morton,\" she said, trying to smile. \"I\nwas always Mary.\" And then she burst into tears. \"Why,--why won't you\ncome?\"", "expect it.\" This coming from Mrs. Masters, whose great doctrine it\nwas that young women ought not to be afraid of work, was so clearly\nthe effect of sheer opposition that Mary disdained to answer it. Then", "Masters had given her heart to some one, and he certainly was not the\nman to ask for the hand of a girl who had not a heart to give. And\nyet he thought that it would be impossible that he should marry any", "upon her visit without further opposition. He at present did not\nthink it wise to say another word to Mary about the young man;--nor\nwould Mrs. Masters condescend to do so. Mary would of course now", "On that Wednesday evening Mary Masters said nothing to any of her\nfamily as to the invitation from Lady Ushant. She very much wished", "for herself, and no one had a right to scold her because she\ncould not love him. Mrs. Masters hated such arguments, despised\nthis rodomontade about love, and would have crushed the girl into", "Mrs. Masters did not speak to Mary, not at all intending to let her\nsin pass with such moderate punishment as that, but thinking during\nthat period that as she might perhaps induce Larry to ignore the", "not marry. And yet when he saw that Mr. Twentyman was made much of\nand flattered by the whole Masters family, apparently because he was\nregarded as an eligible husband for Mary, Reginald Morton was not", "On the next morning Morton went away without saying another word\nin private to Mary Masters and she was left to her quiet life with\nthe old lady. To an ordinary visitor nothing could have been less", "Masters. But Larry had thought that he had seen that these overtures\nhad not led to much, and then that fear had gone from him. He did\nbelieve that Mary was now angry because she had not been allowed", "\"I thought Mrs. Masters had been told,\" said Reginald.\n\n\"Papa did know that I wrote,\" said Mary." ], [ "marriage should then be thought desirable. But, at the present\nmoment, Arabella was still hot in pursuit of Lord Rufford;--to whom\nthis journey, as soon as it should be known to him, would give the", "he should take such a one as Arabella Trefoil. Therefore she thought\nthat she might judiciously ask Mr. Morton a few questions. \"I believe", "\"I was thinking of asking you to let Miss Trefoil try her,\" said Lord\nRufford. Arabella was sitting between Sir John Purefoy and the Major.", "receiving it, would not bear indignity beyond a certain point. He had\ntherefore declared it to be his purpose to marry Arabella Trefoil,\nand because he had so declared he had almost brought himself to", "It was not John Morton whom Arabella Trefoil had called nasty and\nodious. She had had many lovers, and had been engaged to not a few,", "\"I believe it is Lord Rufford's house,\" said Arabella.\n\n\"If Miss Trefoil's frame of mind will allow her to sit at table with\nme I shall be proud to see her,\" said Lord Rufford.", "the United States with her daughter, and had there fallen in with Mr.\nJohn Morton. Arabella Trefoil was a beauty, and a woman of fashion,", "\"I have the greatest regard for Miss Trefoil.\"\n\n\"Regard be ----.\" Then again he remembered himself. \"Lord Rufford,\nyou've got to marry her. That's the long and the short of it.\"", "\"What did Lord Rufford say?\" Arabella here made a grimace. \"You\ncan tell me something. What are the lawyers to say to Mr. Morton's\npeople?\"\n\n\"Whatever they like.\"", "a bride as Arabella Trefoil, he could never more be to her as her\nchild. This of course was tantamount to saying that she would leave", "he would himself advise that it should be abandoned. Why should he\nexpatriate himself to such a place with such a wife as Arabella\nTrefoil? He received her answer and at once accepted the offer.", "try.\" That is what men say to themselves, but Lord Rufford had had no\nopportunity of saying that to himself in regard to Miss Trefoil. The", "and said that it was all right. The other ladies of course agreed,\nand partners were selected within the house party. Lord Rufford\nstood up with Arabella and John Morton with Lady Penwether. Mr.", "\"But you must let me know how it was that you became engaged to him\nat Rufford.\"\n\n\"Mamma, you mean to drive me mad,\" exclaimed Arabella as she bounced\nout of the room.", "Here is the letter which at his brother-in-law's advice Lord Rufford\nwrote to Arabella:\n\n\n Rufford, 3 February, 1875.", "no circumstances marry Arabella Trefoil. He was being hunted and\nrun down, and, with the instinct of all animals that are hunted, he\nprepared himself for escape. It might be said, no doubt would be", "learned to believe them. Then, when in addition to this, he asserted\nhis purpose of asking Arabella Trefoil to come to him at Bragton, the", "Rufford and Arabella Trefoil were there alone together. She had just\ngot up from a sofa, and he had taken her hand in his. She did not", "\"Tell him that you will be married to Lord Rufford?\"\n\n\"No;--not that. If Mr. Morton were well to-morrow I would have\nhim,--if he chose to take me after what I have told you.\"", "There was very much more of this, till at last Arabella found herself\ncompelled to invent facts. Lord Rufford, she said, had assured her" ], [ "It was not John Morton whom Arabella Trefoil had called nasty and\nodious. She had had many lovers, and had been engaged to not a few,", "the United States with her daughter, and had there fallen in with Mr.\nJohn Morton. Arabella Trefoil was a beauty, and a woman of fashion,", "he should take such a one as Arabella Trefoil. Therefore she thought\nthat she might judiciously ask Mr. Morton a few questions. \"I believe", "receiving it, would not bear indignity beyond a certain point. He had\ntherefore declared it to be his purpose to marry Arabella Trefoil,\nand because he had so declared he had almost brought himself to", "While these great efforts were being made by Arabella Trefoil at\nMistletoe, John Morton was vacillating in an unhappy mood between", "Augustus having been very urgent. John Morton, who had really been\ncaptivated by the beauty of Arabella, was quite in earnest; but there", "wife fit for his purpose out of the school in which Arabella Trefoil\nhad been educated. The two, however, will pass out of our sight, and\nwe can only hope that he may not be disappointed.", "a bride as Arabella Trefoil, he could never more be to her as her\nchild. This of course was tantamount to saying that she would leave", "he would himself advise that it should be abandoned. Why should he\nexpatriate himself to such a place with such a wife as Arabella\nTrefoil? He received her answer and at once accepted the offer.", "learned to believe them. Then, when in addition to this, he asserted\nhis purpose of asking Arabella Trefoil to come to him at Bragton, the", "And they, too, had heard of Mr. John Morton. They too were a little\nafraid of Arabella though she was undoubtedly the niece of a Duke.", "and said that it was all right. The other ladies of course agreed,\nand partners were selected within the house party. Lord Rufford\nstood up with Arabella and John Morton with Lady Penwether. Mr.", "\"I was thinking of asking you to let Miss Trefoil try her,\" said Lord\nRufford. Arabella was sitting between Sir John Purefoy and the Major.", "names. I do know that poor Morton has left Miss Trefoil a sum of\nmoney which is at any rate evidence that he thought well of her to\nthe last.\"", "and Mr. Mainwaring the younger lady,--so that Arabella was sitting\nnext to her lover. It had all been planned by Morton and acceded to", "no circumstances marry Arabella Trefoil. He was being hunted and\nrun down, and, with the instinct of all animals that are hunted, he\nprepared himself for escape. It might be said, no doubt would be", "about this branch of the Trefoil family and had learned that Arabella\nwas altogether portionless. He was told too that Lady Augustus was\nmuch harassed by impecuniosity. Might it be possible to offer a", "But, in spite of these doings, Arabella had insisted on complying\nwith John Morton's wish that she go down and visit him in his bed", "too, she must remain Arabella Trefoil for him. He would not even tell\nher of his appointment. He had done all that in him lay and would\nprepare himself for his journey as a single man. A minister going", "in the event of his death. Mrs. Morton was herself very old, and was\nnear her grave. She was apt to speak of herself as one who had but a" ], [ "Mounser Green as a suitor.", "\"Lord Drummond only wants to know what you wish and it shall be\ndone,\" said Mounser Green. Lord Drummond was the Minister for Foreign", "MOUNSER GREEN.", "replace.\" Mounser Green was always eloquent as to the needs of the\npublic service, and did really in his heart of hearts care about his", "At that moment Mounser Green came into the room. It was rather later\nthan usual, being past one o'clock;--and he looked as though he were", "his special position. Some critics on the Civil Service were no doubt\napt to find fault with Mounser Green. When called upon at his office\nhe was never seen to be doing anything, and he always had a cigar in", "out into St. James's Park. Mounser Green was a distinguished clerk\nin that department,--and distinguished also in various ways, being\none of the fashionable men about town, a great adept at private", "who have been badly treated. If Mounser Green wished to be one of\nthem on her behalf, and to take her out with him to his very far-away\nemployment, might not this be the best possible solution of her", "dispense with the assistance of any messenger. Perhaps Mounser Green\nand his colleagues were a little tired of him;--but yet, after their\nfashion, they were always civil to him, and remembered, as they were", "the fire ready for conversation and looking very unlike a clerk who\nintended to do any work. But there was a general idea that Mounser\nGreen was invaluable to the Foreign Office. He could speak and write", "highly of Mounser Green, and the Duke, who was never dead to the\nfeeling that as the head of the family he should always do what he\ncould for the junior branches, had almost made a promise. \"I never", "Mounser Green's world. There were many who thought that she had been\nill-used. Had she succeeded, all the world would have pitied Lord", "Rufford;--but as he had escaped, there was a strong party for the\nlady. And gradually Mounser Green, who some weeks ago had not thought", "At that moment a card was handed to Mounser Green by a messenger who\nwas desired to show the gentleman up. \"It's the Paragon himself,\"\nsaid Green.", "\"You forget, my boy,\" said Mounser Green, \"that the young lady of\nwhom you speak is a friend of mine.\"", "Then the Paragon was shown into the room and Mounser Green and\nthe young men were delighted to see him. Colonial governors at", "now a feeling among them that Arabella Trefoil was not to be talked\nabout in the old way before Mounser Green. At last he spoke himself.", "he remained there he read a great many newspapers, and wrote a great\nmany private notes,--on official paper! But there may be a question\nwhether even these employments did not help to make Mounser Green the", "Mounser Green was dutifully respectful to his aunt. Patagonia had not\nyet presented itself to him. Some four or five hundred a year, which", "The tender messages from Mounser Green came to her day by day.\nMounser Green, as the nephew of her hostess, had been very kind to" ], [ "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "an aggravation of the evil which was being done. She was not in\nthe least afraid of Reginald Morton; but this attendance on Mary\nwas in the eyes of her stepmother a cockering of her up, a making", "Reginald Morton had certainly not made up his mind to ask Mary\nMasters to be his wife. Thinking of Mary Masters very often as he", "the drawing-room,\" said Mrs. Masters. Mary whose mind was laden\nwith thoughts of Reginald Morton asked who was the he. \"Lawrence", "took her departure, and was never seen at Bragton again in the old\nsquire's time. Reginald Morton came to the house, and soon afterwards", "\"The squire!\" Mr. Masters nodded his head three times. \"You don't say\nso. Well, Mr. Masters, I don't begrudge it you. He might do worse.\nShe has taken her pigs well to market at last!\"", "she was going to marry with all her heart, this girl loved Reginald\nMorton. He had been to her, when her love was hopeless, so completely\nthe master of her heart that she could not realise the possibility", "deserving young man!\" Mary looked askance at her friend, remembering\nat the moment Reginald Morton's assurance that his aunt would have", "the settled conviction came upon her, after hearing Reginald Morton's\nwords, then she was much troubled.", "\"No, Miss Masters.\"\n\n\"Let me be Mary till I am Mrs. Morton,\" she said, trying to smile. \"I\nwas always Mary.\" And then she burst into tears. \"Why,--why won't you\ncome?\"", "Reginald Morton whether with or without a will,--and also enough to\nbe aware that this old lady was Reginald's bitter enemy. He did not\nthink that he could bring himself to take instructions from a dying", "accepting this young man by some unfortunate preference for Reginald\nMorton. She had seen them together and had suspected something of\nthe truth before it had glimmered before the eyes of any one in", "to fight Reginald Morton with any weapon which could be thought of\nfor the possession of Mary Masters? If she were in danger would he\nnot go down into the deep, or through fire to save her? Were not his", "He thought that it must be Reginald Morton, having not heard that\nthe Squire had returned to the country. But John Morton was shown\ninto the office, and the old attorney immediately arose from his", "Mrs. Morton to go at once to Bragton. All this was felt to be strong\nagainst Reginald. But when it was discovered that on the Saturday", "Mary Masters, when Reginald Morton had turned his back upon her\nat the bridge, was angry with herself and with him, which was", "though Bragton were her residence rather than the squire's. The\nplan had originated with Reginald, and when it had been hinted\nto him that Mary would in this way seem to slight her father's", "Dillsborough.\" Then he whispered a word to the Squire. Was the Squire\nunwilling to meet his cousin Reginald Morton? Things were said and", "till he saw Reginald Morton in the distance turning a corner of the\nroad with Mary at his side. He had taken her from the phaeton and had", "Then Lady Ushant came to take her place, and with Lady Ushant came\nReginald Morton. The one lived in the house and the other visited" ], [ "\"My name is Gotobed;--Gotobed; Elias Gotobed, Senator from the State\nof Mickewa to the United States Congress.\" Mrs. Goarly who understood", "\"My name, Mr. Goarly, is Elias Gotobed. I am an American citizen, and\nSenator for the State of Mickewa.\" Mr. and Mrs. Goarly shook their", "out to dinner one after another. Mr. Elias Gotobed, who was coming,\nwas perhaps the most distinguished American of the day, and was\nSenator for Mickewa.", "\"Of course, sir, begging your pardon,\" said Runciman, \"I was speaking\nof England.\" Runciman had heard of the Senator Gotobed, as indeed had\nall Dillsborough by this time.", "\"Quite as much as he deserves, Mr. Gotobed,\" replied Larry. The\nSenator's name had lately become familiar as a household word in", "Mr. Senator Gotobed had expressed his mind openly wheresoever he\nwent, but, being a man of immense energy, was not content with such", "her that Mickewa was one of the Western States and Mr. Elias Gotobed\nwas a great Republican, who had very advanced opinions of his own\nrespecting government, liberty, and public institutions in general.", "\"What do you say to New York, Mr. Gotobed?\"", "Soon after this Senator Gotobed went down, alone, to Dillsborough\nand put himself up at the Bush Inn. Although he had by no means the", "He was ill at the time,--though neither he himself knew it nor the\nSenator. On the next morning Mr. Gotobed returned to London without", "At this time Senator Gotobed was paying a second visit to Rufford\nHall. In the matter of Goarly and Scrobby he had never given way an", "gentleman was, or whether he had come for good or evil. That he\ncalled himself Gotobed Goarly did remember, and also that he had said\nthat he was an American. All that which had referred to senatorial", "party was broken up, and Miss Trefoil was staying with her mother at\nthe Connop Greens. By the morning post on the next day he received\na note from the Senator in which Mr. Gotobed stated that business", "door, and the Senator Gotobed, almost without being announced,\nentered the room. He had become so intimate of late at the Foreign\nOffice, and his visits were so frequent, that he was almost able to", "the Senator. Among themselves it was sufficient to repeat the\nwell-known fact that Goarly was a rascal; but with reference to this\naggravating, interfering, and most obnoxious American it would be", "\"You're alluding to Mr. Goarly, Sir?\" said the Senator.\n\n\"That's about it, certainly,\" said Runce, still looking very\nsuspiciously at his companion.", "a conclusion. Mr. Bearside declared that it would of course be bonâ\nfide, and asked the Senator for his address. Would Mr. Gotobed object", "\"What sort of position does that man Goarly occupy here?\" the Senator\nasked immediately after dinner.\n\n\"No position at all,\" said Morton.", "\"The truth is, Mr. Gotobed,\" said Morton endeavouring to explain it\nall, \"you see a part only and not the whole. That man Goarly is a\nrascal.\"\n\n\"So everybody says.\"", "was Scrobby. The man was not like what in his imagination Scrobby\nwould be. He did not know what to make of Mr. Gotobed,--who was a" ], [ "\"Not at all. He's the greatest man in the county on hunting days.\"\n\n\"Does he live out of it?\"\n\n\"I should think not.\"", "journey down to the county had been planned. Mr. Gotobed wished\nto see English country life and thought that he could not on his\nfirst arrival have a better opportunity. It must be explained also", "\"You shall do neither,\" said Lord Rufford; \"but upon my word I think\nshe's the fastest thing in this county.\" All of which did not cure\npoor Larry, but it helped to enable him to be a man.", "\"He keeps the foxes for the county, and where would the county be\nwithout them?\" began Larry. \"What is it brings money into such a\nplace as this?\"", "neighbouring county. This accident has given rise to not a few\nfeuds, Ufford being a large county, with pottery, and ribbons,", "about twelve miles. Dillsborough, however, stands in the county of\nRufford, whereas at the top of Bullock's Hill you enter the county", "the county,--that he didn't even yet wish to quarrel with him. \"What\nthe deuce have I done?\" said he to himself as he walked on--\"I didn't", "had votes, voted for the County of Middlesex. On the other side of\nthe invisible border I had just past the poor wretch with 3_s._ a day", "live near the town, but away at the other side of the county, and is\nnot much seen in these parts unless when the hounds bring him here,\nor when, with two or three friends, he will sometimes stay for a few", "\"I don't remember anything like it on my property before,\" said the\nlord, standing up for his own estate and the county at large.", "way up there and Sir John Purefoy joined the party. Sir John was a\nhunting man who lived in the county and was an old friend of the", "\"Don't let every farmer's son in the county say that Lawrence\nTwentyman was so mastered by a girl that he couldn't ride on\nhorseback when she said him nay.\"", "in the county is Rufford gaol. He's like to be there soon, I think.\"", "a bad name in the county. It would be against me when I settle down\nto live here. I think quarrelling is the most foolish thing a man can\ndo,--especially with his own relations.\"", "\"What does that matter, if you get foxes?\" continued the Master. \"But\nthe fact is, gentlemen in a county like this always want to have", "Rufford, and the dullness of ordinary country life--as experienced by\nhimself at Bragton. And now he was going to tell the English people\nat large what he thought about it all.", "Bragton, but with considerable pride about him as to that position.\nHe had always liked to have his house full, and had hated petty\noeconomies. He had for many years hunted the county at his own", "of Bragton. But of course I couldn't have given her a house like\nthat, nor a carriage, nor made her one of the county people. If it\nwas to go in that way, what could I hope for?\"", "\"Then why shouldn't you say at once that you'll have me, and make me\nthe happiest man in all the county?\"\n\n\"Because--\"\n\n\"Well!\"", "questioned. If I may be allowed I will tell a little story as to one\nof the most generous gentlemen I have had the happiness of meeting in\nthis country, which will explain my meaning.\"" ], [ "promise!\" And her stepmother also had declared that she \"must be made\nto help it,\"--or in other words be made to marry Mr. Twentyman in", "\"Dear mamma, don't talk like that,\" said Mary, clinging hold of her\nstepmother.\n\n\"Your papa sits there and won't say a word,\" said Mrs. Masters,\nstamping her foot.", "\"No, Miss Masters.\"\n\n\"Let me be Mary till I am Mrs. Morton,\" she said, trying to smile. \"I\nwas always Mary.\" And then she burst into tears. \"Why,--why won't you\ncome?\"", "expect it.\" This coming from Mrs. Masters, whose great doctrine it\nwas that young women ought not to be afraid of work, was so clearly\nthe effect of sheer opposition that Mary disdained to answer it. Then", "He constantly assured himself that he wanted no wife, that for him\na solitary life would be the best. But yet it made him wretched when\nhe reflected that some man would assuredly marry Mary Masters. He", "and poetry put forward by Mrs. Masters. Books and poetry would not\nteach a girl like Mary to reject her suitor if she really loved him.", "\"Just that. Mrs. Masters thinks that Mr. Twentyman would make an\nexcellent husband. And so do I. There's nothing in the world against", "Dillsborough. Had Reginald been so inclined Lady Ushant would have\nbeen very glad to see him marry Mary Masters. For both their sakes\nshe would have preferred such a match to one with the owner of", "she also had been compelled to leave Bragton. Then Mary Masters had\nreturned to her father and stepmother.", "of the girls was always at Bragton, and Mary had done her best, but\nhitherto in vain, to induce her step-mother to come to her. When she", "Masters had declared the request to be very unreasonable. \"Who is to\nwalk five miles and back to see an old woman like that?\" To this Mary\nhad replied that the distance across the fields to Bragton was only", "Mr. Twentyman, and the injustice of that threat had at once made\nher rebel against her stepmother's authority. She would never allow\nher stepmother to make her marry any one. She put herself into a", "Masters had given her heart to some one, and he certainly was not the\nman to ask for the hand of a girl who had not a heart to give. And\nyet he thought that it would be impossible that he should marry any", "Mary had been very decided with him,--more so he feared than before;\nbut still he saw no reason why he should not succeed at last. Mrs.\nMasters had told him that Mary would certainly give a little trouble", "as any of 'em.\" This was a very different tale;--a note altogether\nchanged! It must not be said that the difference of the tale and\nthe change of the note affected Mary's heart; but her stepmother's", "\"Is that you, Mary? What can I do for you, my love?\"\n\n\"Papa, I want you to read this.\" Then Mr. Masters read the letter.\n\"I should so like to go.\"", "Twentyman,\" said Mrs. Masters. \"And now, my dear, do, do think of it\nbefore you go to him.\" There was no anger now in her stepmother's", "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "the first she made up her mind to oppose her stepmother's cruelty by\nsheer obstinacy. She had been told that she must be made to marry", "propositions which were all of them terribly distasteful to the\nold woman. In the first place he had insisted on sending for Miss\nTrefoil. Up to this period Mary Masters had hardly heard the name of" ], [ "That same evening her father called her into the office after the\nclerks were gone and spoke to her thus. \"Your mamma is very unhappy,\nmy dear,\" he said.", "She's staying with old Mrs. Green in Portugal Street. There has been\nsome break up between her and her mother, and old Mrs. Green has", "\"How should you know? Has she told you?\" In answer to this he\nonly nodded his head at the old lady. \"There must have been close", "found, soon after his marriage, that the service of his country\nrequired that he should generally leave his wife at Bragton. As her\nfather had been for many years a widower, Lady Ushant became the", "Through all that morning she was very quiet, very pale, and in\ntruth very unhappy. Her father said no further word to her, and her", "\"He is a public nuisance,--and so is the old lady who brought him\nhere.\" This was said quite in a whisper. \"It is very odd, Miss", "of her own, and regarded herself as being a dead weight on the\nfamily. And she was conscious in a certain degree of isolation in the\nhousehold,--as being her father's only child by the first marriage.", "her father, and the whole family. \"That is very unfair, mamma,\" Mary\nsaid. \"I have done nothing. I have only not done that which nobody\nhad a right to ask me to do.\"", "\"If you have got anything to say you had better talk to your father.\nI know nothing about it.\"\n\n\"You break my heart when you say that, mamma.\"", "herself was surprised at the ease with which it was all done. On the\nSaturday Lady Augustus came, and on the Sunday Lord Augustus. The\nparents of course kissed their child, but there was very little said", "was free to do so. She herself did not pretend to have any interest\nin the affairs as to which her father and his lawyers were making\nthemselves busy. They had never even condescended to tell her what it", "It was now some years since Lord Augustus had been at Mistletoe. As\nhe had never been separated,--that is formally separated,--from his", "Lord Mistletoe, who had a large family of his own, lived twenty miles\noff,--so that the father and son could meet pleasantly without fear\nof quarrelling.", "escaping for a quarter of an hour of ease to his friends at the Bush,\nand eating his meals in silence. But when he became aware that his\ngirl was being treated with cruelty,--that she was never spoken to", "of life and that a little hardship would bring her round to a more\nrational condition. With a very heavy heart he consented to do his\npart,--which was to consist mainly of silence. Any words which might", "And now, of late, Arabella had been talking of living separately from\nher mother. Lady Augustus, who was thoroughly tired of her daughter's", "in those days, but the old lady was careful as to the education of\nthe child, and did her best to make the home happy for her. Some two\nor three years before the commencement of this story there arose a", "the twenty pounds, and it was insinuated that all the comforts of\nthe family must be stopped because of this lavish extravagance. Her\nfather sat still and bore it, almost without a word. Both Dolly", "They had both passed their childish years there, but could have but\nlittle thought that they were destined then to love and grow old\ntogether. \"I was longing, longing, longing to come,\" she said.", "\"We fathers and mothers,\" said the attorney, \"never really know what\nthe young ones are after. Don't mention it just at present, Runciman.\nYou are such an old friend that I couldn't help telling you.\"" ], [ "Mary Masters when she was alone was again very angry with herself.\nShe knew thoroughly how perverse she had been when she declared\nthat Larry Twentyman was a fit companion for herself, and that she", "\"That she is going to take poor Larry after all. She might do worse,\nMr. Masters.\"\n\n\"Poor Larry! I am sorry for him. I have always liked Larry Twentyman.\nBut that is all over now.\"", "was altogether irrational, and he knew that it was so. What right had\nhe to have an opinion about it if Mary Masters should choose to like\nthe society of Mr. Twentyman? It was an affair between her and her", "Twentyman,\" said Mrs. Masters. \"And now, my dear, do, do think of it\nbefore you go to him.\" There was no anger now in her stepmother's", "\"Just that. Mrs. Masters thinks that Mr. Twentyman would make an\nexcellent husband. And so do I. There's nothing in the world against", "\"I don't know what you mean, Mr. Morton.\" She then thought that he\nwas still alluding to Lawrence Twentyman.\n\n\"Tell me, Mary.\"\n\n\"What am I to tell you?\"", "Masters. But Larry had thought that he had seen that these overtures\nhad not led to much, and then that fear had gone from him. He did\nbelieve that Mary was now angry because she had not been allowed", "Twentyman, but by Miss Masters also, and he was well aware, as he\nthought of it all, that neither of them had given him any cause of", "But unhappily there was a slight difference of sentiment even in\nLarry's own house, and on this very morning old Mrs. Twentyman had\nexpressed to Mrs. Masters a feeling of wrong which had gradually", "as being of all men the most puny, the most unmanly, and the least\nworthy of marrying Mary Masters. Now that Mr. Twentyman was certainly", "home and here she had better be.\" Though things had hitherto gone\nvery badly, though Larry Twentyman had not shown himself since the\nreceipt of the letter, still Mrs. Masters had not abandoned all hope.", "he were to be altogether separated from Mary Masters. He couldn't\nseparate himself from her. It was all very well thinking of it,\ntalking of it, threatening it; but in truth he couldn't do it. There", "the allusion was not fair. \"What I want to know is this;--are you\nprepared to marry Lawrence Twentyman?\" To this question, as Mary", "towards Larry Twentyman and her own good. At the end of that time,\nwhen Mary had been at home nearly a week, Larry came as usual on the", "made was Mr. Twentyman; and of course the discomfort at home had come\nfrom Mrs. Masters' approval of that suitor's claim. Reginald, though", "If she don't take Larry Twentyman's she's like to have none of her\nown before long.\" But Mr. Masters would not assent to this plan of", "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "That evening Larry Twentyman came in, but was not received with any\ngreat favour by Mrs. Masters. There was growing up at this moment in", "the lover and Mary together, she resented it by clinging closely to\nDolly;--and then all Larry's courage deserted him. Very little good\nwas done on the occasion by Mrs. Masters' manoeuvres.", "Masters had given her heart to some one, and he certainly was not the\nman to ask for the hand of a girl who had not a heart to give. And\nyet he thought that it would be impossible that he should marry any" ], [ "who was the one that he specially liked himself. And Mary was not\naltogether averse to him, knowing him to be good-natured, manly,", "\"No; nothing.\"\n\n\"I wish we could be friends, Mary. I wish I could know your secret.\nYou have a secret.\"\n\n\"No,\" she said boldly.", "care much for female beauty, and yet he felt that he could sit and\nlook at Mary Masters by the hour together. There was a quiet even\ncomposure about her, always lightened by the brightness of her modest", "\"To my thinking there is a sweetness about her which I have never\nseen equalled in any young woman.\" This was said by Lady Ushant to\nher nephew after Mary had gone to bed on the night before he left.", "Mary, as soon as she saw him, blushed up to her eyes, then turning\nround looked with wistful eyes into the face of the man she was", "the pleasure of knowing it.\" Of course he knew to whom she alluded,\nand of course he laughed at her feeble caution. But he would not\nsay a word to encourage her to mention the name of Mary Masters. He", "\"And yet there was somebody!\" She pouted her lips at him, glancing up\ninto his face for half a second, and then again hung her head down.\n\"Mary, do not grudge me my delight.\"", "her. Lady Ushant longed to ask a question, but she did not dare. And\nMary Masters longed to have one friend to whom she could confide her\nsecret,--but neither did she dare.", "learning her duty already. She'll be able to have every bedstead and\nevery chair by heart, which is an advantage ladies seldom possess.\"\nThen Mary rushed forward and was received into the old woman's arms.", "as though I were doing anything clandestine.\" He paused for a reply,\nbut Mary walked on in silence. She knew quite well that he was\nwarranted in seeking her, and that nothing but a very positive", "would give him a kiss and call him her son. And she believed what she\nsaid. This, she thought, was merely Mary's way of letting herself\ndown without a sudden fall.", "moment and she was aware of unusual pressure. It was the pressure of\nlove,--or of that pretence of love which young men, and perhaps old\nmen, sometimes permit themselves to affect. In an ordinary way Mary", "\"And what does Mary say herself?\"\n\n\"I fancy she has refused him.\" Then he added after a pause, \"Indeed I\nknow she has.\"", "She had daughters of her own, and would solace herself by declaring\nto them, to her husband, and to her specially intimate friends, that\nof course they would see no more of Mary. It wasn't for them to", "had his name been suggested as that of the young man to whom Mary's\nheart had been given, he would have repudiated such a suggestion with\nastonishment and anger. But now, having heard this from the girl's", "\"Is there anybody else, Mary?\" As he asked the question he held her\nhand beneath his own on the desk, but he did not dare to look into", "Mary herself, hoped that Mr. Twentyman might prevail at last. The\nman was worth six or seven hundred a year, and had a good house, and", "\"I wonder whether you cared about Reginald all that time.\" In answer\nto this Mary only hid her face in the old woman's lap. \"Dear me! I", "had done during the last two months, he was quite sure that he did\nnot mean to marry at all. He did acknowledge to himself that were he\nto allow himself to fall in love with any one it would be with Mary", "been staying there. Unfortunately I have never had anything that I\nneed do in all my life, and therefore I have shut myself up as you\ncall it. I wonder what your life will be.\" Mary blushed and said" ], [ "Reginald Morton had certainly not made up his mind to ask Mary\nMasters to be his wife. Thinking of Mary Masters very often as he", "not marry. And yet when he saw that Mr. Twentyman was made much of\nand flattered by the whole Masters family, apparently because he was\nregarded as an eligible husband for Mary, Reginald Morton was not", "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "though Bragton were her residence rather than the squire's. The\nplan had originated with Reginald, and when it had been hinted\nto him that Mary would in this way seem to slight her father's", "had done during the last two months, he was quite sure that he did\nnot mean to marry at all. He did acknowledge to himself that were he\nto allow himself to fall in love with any one it would be with Mary", "love with Reginald Morton? I do not think that she answered it in the\naffirmative, but she became more and more sure that she could never\nmarry Larry Twentyman.", "\"Reginald,\" she repeated it after him, but went no farther in naming\nhim.\n\n\"Because I love you better than any other being in the world--\"\n\n\"I do.\"", "\"One would suppose,\" he answered, \"that you wanted me to ask her to\nbe my wife.\"\n\n\"I never want anything of that kind, Reg. I never make in such\nmatters,--or mar if I can help it.\"", "\"It was only because he asked me to put it off. I knew it could make\nno difference.\"\n\n\"Do you mean to tell me, Mary, that you are going to refuse him after\nall?\"", "of Bragton. Reginald when he received this at once went over to\nthe attorney's house, but he did not succeed in seeing Mary. He\nlearned, however, that they were all aware that the journey had been", "sort;--and I am sure Mary wouldn't have anything else.\" Reginald told\nher she might do as she pleased and made no further inquiry as to\nMary's lovers.", "\"And what does Mary say herself?\"\n\n\"I fancy she has refused him.\" Then he added after a pause, \"Indeed I\nknow she has.\"", "\"I wonder whether you cared about Reginald all that time.\" In answer\nto this Mary only hid her face in the old woman's lap. \"Dear me! I", "she was going to marry with all her heart, this girl loved Reginald\nMorton. He had been to her, when her love was hopeless, so completely\nthe master of her heart that she could not realise the possibility", "In her doubt she determined to refer the case to Reginald himself,\nand instead of writing to Mary she wrote to him. She did not send him", "\"Yes, he is,\" said Morton. \"I am afraid we are going to have frost\nagain.\" Then Reginald Morton was sure that the marriage would never\ntake place.", "Chowton Farm. But she did not think that Reginald himself was that\nway minded, and she fancied that poor Mary might be throwing away", "\"Nothing on earth would make him marry you. I would not for a moment\nhave allowed him to allude to money if that had not been quite\ncertain.\"\n\n\"Who proposed the money first?\"", "deserving young man!\" Mary looked askance at her friend, remembering\nat the moment Reginald Morton's assurance that his aunt would have", "\"When did he propose and where?\"\n\n\"At Rufford. We were staying there in November.\"\n\n\"And you asked to come here that you might meet him?\"" ], [ "mother. Even Arabella Trefoil could not say it to her mother,--or, at\nany rate, she would not. \"What a question that is to ask, mamma?\" she\ndid say tossing her head.", "Rufford and Arabella Trefoil were there alone together. She had just\ngot up from a sofa, and he had taken her hand in his. She did not", "When Arabella Trefoil started from London for Mistletoe, with no\ncompanion but her own maid, she had given more serious consideration", "Saturday,--no less than Lady Augustus Trefoil and her daughter\nArabella. And Mrs. Hopkins was soon led to imagine, though no\npositive information was given to her on the subject, that Miss", "When Arabella Trefoil got back to Portugal Street after her visit\nto Rufford, she was ill. The effort she had made, the unaccustomed", "about this branch of the Trefoil family and had learned that Arabella\nwas altogether portionless. He was told too that Lady Augustus was\nmuch harassed by impecuniosity. Might it be possible to offer a", "\"I believe it is Lord Rufford's house,\" said Arabella.\n\n\"If Miss Trefoil's frame of mind will allow her to sit at table with\nme I shall be proud to see her,\" said Lord Rufford.", "the United States with her daughter, and had there fallen in with Mr.\nJohn Morton. Arabella Trefoil was a beauty, and a woman of fashion,", "a bride as Arabella Trefoil, he could never more be to her as her\nchild. This of course was tantamount to saying that she would leave", "wife fit for his purpose out of the school in which Arabella Trefoil\nhad been educated. The two, however, will pass out of our sight, and\nwe can only hope that he may not be disappointed.", "The reader will have been aware that Arabella Trefoil was not a\nfavourite at Mistletoe. She was so much disliked by the Duchess that", "Arabella Trefoil had adhered without flinching to the purpose she had\nexpressed of going down to Bragton to see the sick man. And yet at", "What a home it was,--and what a journey up to town! Arabella had\ntold her mother that the letter to Lord Rufford had been written and", "There were many things to be considered by the Trefoils. There was\nthe question of dress. If any good was to be done by Arabella at", "they had enjoyed no particular income of their own. Lord Augustus had\nspent everything that came to his hand, and the family owned no house\nat all. Nevertheless Arabella Trefoil was to be seen at all parties", "he would himself advise that it should be abandoned. Why should he\nexpatriate himself to such a place with such a wife as Arabella\nTrefoil? He received her answer and at once accepted the offer.", "learned to believe them. Then, when in addition to this, he asserted\nhis purpose of asking Arabella Trefoil to come to him at Bragton, the", "\"Was that at Mistletoe or Rufford?\"\n\n\"At Mistletoe, mamma,\" replied Arabella, stamping her foot.", "kind old woman, who had lived much in the world, and would wish to\nsee much of it still, had age allowed her. Arabella Trefoil was at", "\"I was thinking of asking you to let Miss Trefoil try her,\" said Lord\nRufford. Arabella was sitting between Sir John Purefoy and the Major." ], [ "marriage should then be thought desirable. But, at the present\nmoment, Arabella was still hot in pursuit of Lord Rufford;--to whom\nthis journey, as soon as it should be known to him, would give the", "had he that Arabella would not have objected still more loudly. She\nhad sworn that she would never be opposed to his little pleasures;\nbut he knew what such oaths were worth. Marriage altogether was a", "say so. Now, Arabella, begin from the beginning. When was it that he\nfirst suggested to you the idea of marriage?\"", "of asking Arabella whether she wished to be relieved from her\nengagement. She had never quite given him the opportunity. She\nhad always been gracious to him in a cold, disagreeable, glassy", "receiving it, would not bear indignity beyond a certain point. He had\ntherefore declared it to be his purpose to marry Arabella Trefoil,\nand because he had so declared he had almost brought himself to", "he could not marry Arabella,--though he loved her better than all the\nworld. Arabella asked some questions about her mother's shopping and\ngeneral business in town, and did not leave the room till she could", "a bride as Arabella Trefoil, he could never more be to her as her\nchild. This of course was tantamount to saying that she would leave", "said Arabella. And the poor woman did do nothing of the kind. \"What\nis it to them whether I see the man or not?\" the girl said. \"They are", "as Arabella would have done; but then a man does not want his wife\nto gallop across the country after him. She might perhaps object to\ncigars and soda water after eleven o'clock, but then what assurance", "wife fit for his purpose out of the school in which Arabella Trefoil\nhad been educated. The two, however, will pass out of our sight, and\nwe can only hope that he may not be disappointed.", "CHAPTER XXVII.\n\nARABELLA AGAIN AT BRAGTON.", "Arabella, though bad, had been badly treated. She had disbelieved,\nand then believed, and had again disbelieved Arabella's own statement", "that he should not propose after what had occurred! Her aunt was\nevidently alive to the advantage of the marriage,--to the advantage\nwhich would accrue not to her, Arabella, individually, but to the", "a woman was coming to him, and then gradually he saw who that woman\nwas. Arabella when she had found herself advancing closer went slowly\nenough. She was sure of her prey now, and was wisely mindful that", "said Arabella, who had long since provided herself with this\nquotation for such occasions. \"I hope I am not exactly dying, Mrs.", "\"Arabella,\" said the mother, \"it is clear that you do not look into\nthe future. How do you mean to live? You are getting old.\"\n\n\"Old!\"", "no circumstances marry Arabella Trefoil. He was being hunted and\nrun down, and, with the instinct of all animals that are hunted, he\nprepared himself for escape. It might be said, no doubt would be", "\"You will do no such thing. Arabella, do not make a fool of\nyourself. Do you know what £8,000 will do for you? It is to be your\nown,--absolutely beyond my reach or your father's.\"", "should Arabella still cling to the hope of marrying the lord? That\nany such hope would be altogether illusory Lady Augustus was now\nsure. She had been quite certain that there was no ground for such", "\"It appears not,\" said Arabella.\n\n\n\n\nCHAPTER II.\n\n\"NOW WHAT HAVE YOU GOT TO SAY?\"" ], [ "Augustus having been very urgent. John Morton, who had really been\ncaptivated by the beauty of Arabella, was quite in earnest; but there", "It was not John Morton whom Arabella Trefoil had called nasty and\nodious. She had had many lovers, and had been engaged to not a few,", "it herself. That she had been engaged to John Morton she did not\ndeny; but she threw the blame of that matter on her mother, and\nexplained to him that she had broken off the engagement down at", "And they, too, had heard of Mr. John Morton. They too were a little\nafraid of Arabella though she was undoubtedly the niece of a Duke.", "John Morton was lying ill at Bragton;--a fact of which Arabella was\nnot aware.", "the United States with her daughter, and had there fallen in with Mr.\nJohn Morton. Arabella Trefoil was a beauty, and a woman of fashion,", "seemed to drag. Now she was, after a certain fashion, engaged to\nmarry John Morton and perhaps she was one of the most unhappy young\npersons in England.", "But, in spite of these doings, Arabella had insisted on complying\nwith John Morton's wish that she go down and visit him in his bed", "While these great efforts were being made by Arabella Trefoil at\nMistletoe, John Morton was vacillating in an unhappy mood between", "days one can't make a man marry!\" What horrid days they were! But\nJohn Morton would marry her to-morrow if he were well,--in spite of", "Augustus had she not heard this story,--had she not been told that\nthe woman, knowing her daughter to be engaged to John Morton, had", "of John Morton had been abominable. The one man, in order that he\nmight escape without further trouble, had in the grossest manner,", "he could not marry Arabella,--though he loved her better than all the\nworld. Arabella asked some questions about her mother's shopping and\ngeneral business in town, and did not leave the room till she could", "shall stay for a while at Hoppet Hall, and come in and see you from\ntime to time till you get better.\" John Morton replied that he should\nnever get better; but though he said so then, there was at times", "sold, and that difficulty was surmounted, not without a considerable\ndiminution of income. In process of time the grandson, who was a\nsecond John Morton, grew up and married, and became the father of a", "would certainly like to buy it. He, however, did as John Morton had\ndone before, and endeavoured to persuade the poor fellow that he\nshould not alter the whole tenor of his life because a young lady", "and Mr. Mainwaring the younger lady,--so that Arabella was sitting\nnext to her lover. It had all been planned by Morton and acceded to", "receiving it, would not bear indignity beyond a certain point. He had\ntherefore declared it to be his purpose to marry Arabella Trefoil,\nand because he had so declared he had almost brought himself to", "He thought that it must be Reginald Morton, having not heard that\nthe Squire had returned to the country. But John Morton was shown\ninto the office, and the old attorney immediately arose from his", "and had captivated the Paragon. An engagement had been made, subject\nto various stipulations; the consent of Lord Augustus in the first\nplace,--as to which John Morton who only understood foreign affairs" ], [ "who have been badly treated. If Mounser Green wished to be one of\nthem on her behalf, and to take her out with him to his very far-away\nemployment, might not this be the best possible solution of her", "No sooner did the new two lovers, Mounser Green and Arabella Trefoil,\nunderstand each other, than they set their wits to work to make the", "now a feeling among them that Arabella Trefoil was not to be talked\nabout in the old way before Mounser Green. At last he spoke himself.", "the old lady had at her own disposal, had for years past contributed\nto Mounser's ideas of duty. And now Arabella's presence at the\nsmall house in Portugal Street certainly added a new zest to those", "and have the meeting with her mother--or with Lord Rufford as the\ncase might be. But Mounser Green knew very well that Lady Augustus\nwas in Orchard Street, and knew also that Arabella was determined not", "Rufford;--but as he had escaped, there was a strong party for the\nlady. And gradually Mounser Green, who some weeks ago had not thought", "Mounser Green as a suitor.", "\"Lord Drummond only wants to know what you wish and it shall be\ndone,\" said Mounser Green. Lord Drummond was the Minister for Foreign", "The tender messages from Mounser Green came to her day by day.\nMounser Green, as the nephew of her hostess, had been very kind to", "But as she lay in bed, thinking of her future life, tidings were\nbrought to her by Mrs. Green that Mounser had accepted the mission", "a different purpose. She had not hesitated to talk to Mounser Green\nabout Lord Rufford,--and though she had pretended to make a secret\nof the place to which she was going when he had taken her to the", "Mounser Green was dutifully respectful to his aunt. Patagonia had not\nyet presented itself to him. Some four or five hundred a year, which", "very much of her, became one of the party. She had brought her maid\nwith her; and when she found that Mounser Green came to the house\nevery evening, either before or after dinner, she had recourse", "replace.\" Mounser Green was always eloquent as to the needs of the\npublic service, and did really in his heart of hearts care about his", "\"You forget, my boy,\" said Mounser Green, \"that the young lady of\nwhom you speak is a friend of mine.\"", "highly of Mounser Green, and the Duke, who was never dead to the\nfeeling that as the head of the family he should always do what he\ncould for the junior branches, had almost made a promise. \"I never", "he would himself advise that it should be abandoned. Why should he\nexpatriate himself to such a place with such a wife as Arabella\nTrefoil? He received her answer and at once accepted the offer.", "\"At any rate there she is, and Mounser sees her every day.\"\n\n\"It don't make any difference about Rufford,\" said young Glossop\nstoutly.", "Mounser Green's world. There were many who thought that she had been\nill-used. Had she succeeded, all the world would have pitied Lord", "\"It's an opening, my dear fellow,\" said Mounser Green leaning\naffectionately on Glossop's shoulder. \"What should I do by remaining" ], [ "Reginald Morton whether with or without a will,--and also enough to\nbe aware that this old lady was Reginald's bitter enemy. He did not\nthink that he could bring himself to take instructions from a dying", "He thought that it must be Reginald Morton, having not heard that\nthe Squire had returned to the country. But John Morton was shown\ninto the office, and the old attorney immediately arose from his", "legitimate heir of his great-grandfather, Sir Reginald. For such an\nassertion John Morton knew there was not a shadow of ground. No one\nbut this old woman had ever suspected that the Canadian girl whom", "Morton, the brother with the aristocratic wife, was ten or twelve\nyears older than Reginald, and at this time lived chiefly at Bragton", "could not refrain from alluding to the fact that if \"anything were\nto happen\" to John Morton, Reginald himself would be the Squire", "third John Morton, the young man who afterwards became owner of the\nproperty and Secretary of Legation at Washington. But the old squire\noutlived his son and his grandson, and when he died had three or", "a knight, and who had left nothing behind him. Thus Reginald Morton\nhad been friendless since his grandfather died, and had lived in\nGermany, nobody quite knew how. During the entire period of this", "I need not take the reader back farther than old Reginald Morton.\nHe had come to the throne of his family as a young man, and had sat", "took her departure, and was never seen at Bragton again in the old\nsquire's time. Reginald Morton came to the house, and soon afterwards", "Cheltenham. The old lady's letter to Reginald was much longer;\nbecause in that she had to speak of the state of John Morton's", "\"Morton, is it;--perhaps my friend's;--ah--ah,--yes.\" He didn't like\nto say uncle because Reginald didn't look old enough, and he knew he", "in the event of his death. Mrs. Morton was herself very old, and was\nnear her grave. She was apt to speak of herself as one who had but a", "side, and there had been a lawsuit. During that time Reginald Morton\nhad been forced to live on a very small allowance. His aunt, Lady", "honourable lady on behalf of her grandchildren, of which Reginald\nMorton was the object. The old man had left certain outlying", "only man who knew him. It soon was spread about that the gentleman\ntalking to Lord Rufford was John Morton, and many who lived in the\ncounty came up to shake hands with him. To some of these the Senator", "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "and his figure had been familiar to all eyes in the High Street of\nDillsborough and at the front entrance of the Bush. People still\nspoke of old Mr. Reginald Morton as though his death had been a sore", "Then Lady Ushant came to take her place, and with Lady Ushant came\nReginald Morton. The one lived in the house and the other visited", "Mrs. Morton to go at once to Bragton. All this was felt to be strong\nagainst Reginald. But when it was discovered that on the Saturday", "the other old woman, she consented to stay. \"And what shall Reginald\ndo?\" she asked. John Morton had thought about this too, and expressed" ], [ "of Bragton. Reginald when he received this at once went over to\nthe attorney's house, but he did not succeed in seeing Mary. He\nlearned, however, that they were all aware that the journey had been", "Reginald Morton and Mary Masters together. He was very much in love\nwith Mary, but had no idea that she was in any way above the position\nwhich she might naturally hold as daughter of the Dillsborough", "sort;--and I am sure Mary wouldn't have anything else.\" Reginald told\nher she might do as she pleased and made no further inquiry as to\nMary's lovers.", "\"I wonder whether you cared about Reginald all that time.\" In answer\nto this Mary only hid her face in the old woman's lap. \"Dear me! I", "though Bragton were her residence rather than the squire's. The\nplan had originated with Reginald, and when it had been hinted\nto him that Mary would in this way seem to slight her father's", "my girl,\" said the attorney, really feeling what he said. \"It is very\ngood of you to trust her to me,\" said Reginald, also sincerely. Mary", "till he saw Reginald Morton in the distance turning a corner of the\nroad with Mary at his side. He had taken her from the phaeton and had", "Chowton Farm. But she did not think that Reginald himself was that\nway minded, and she fancied that poor Mary might be throwing away", "nothing; but I have to think of his comfort. I suppose she is good\nto him; and though he may bid me stay such scenes as this in the\nhouse must be a trouble to him.\" Nevertheless Reginald was strong", "deserving young man!\" Mary looked askance at her friend, remembering\nat the moment Reginald Morton's assurance that his aunt would have", "\"Poor young man! But you must go and see Reginald.\" Then she was\ntaken into the library and did see Reginald. Were she to avoid", "Reginald's welfare that he should settle himself at Bragton as soon\nas possible. Mary's pleas for a long day were not very urgent.", "Reginald Morton whether with or without a will,--and also enough to\nbe aware that this old lady was Reginald's bitter enemy. He did not\nthink that he could bring himself to take instructions from a dying", "then, within her father's arms, while her stepmother listened, she\ntold them of her triumph. \"Mr. Reginald Morton wants me to be his\nwife, and he is coming here to ask you.\"", "him anything. Poor Larry! Would Reginald permit her to regard him as\na friend? And would he submit to friendly treatment? She could look\nforward and see him happy with his wife, the best loved of their", "Reginald Morton had certainly not made up his mind to ask Mary\nMasters to be his wife. Thinking of Mary Masters very often as he", "MARY MASTERS.\n\n\n\"If that don't fetch him,\" said Reginald, \"he is a poorer creature\nthan I take him to be.\"\n\n\"But I may send it?\"", "Reginald Morton entertained serious thoughts of cleansing himself\nfrom the reproach which Larry cast upon him when describing his\ncharacter to his mother. \"I think I shall take to hunting,\" he said\nto Mary.", "her. And twice after this banishment Reginald walked over. But on the\nsecond occasion there was a scene. Mrs. Morton to whom he had never", "said Reginald laughing.\n\n\"Perhaps she has.\"\n\n\"Then don't interfere with her happiness in that direction. How is\nshe to have a lover come to see her out here?\"" ], [ "tones of your voice, as we are all apt to do when we come from our\nprivate homes, out among the eyes of the public.\"", "or not. The letter was very long as well as very serious and need\nnot be given here at length. But that was the gist of it; and he", "would break the heart of any man; but upon my word,\n I doubt whether I ever came across a human being so\n self-satisfied as this young lord.", "horses, which she thought might lead to something,--and there was\na tone in the letter which seemed to show that he was given to\ncorrespondence. She took care to answer it so that he should get", "been written, first the laughing letter, and then the one that was\ndeclared to be serious. The earlier of the two did not annoy him\nmuch. It contained hardly more than those former letters which had", "much to say about hunting which nobody can understand! But now this\ndelightful man has scattered poison all over the country there is\nsomething that comes home to our understanding. I declare myself", "care, but looking very moody, almost fierce, as though he did not\nwish anybody to speak to him. Tony Tuppett, who had known him since", "\"But I should like you to see what I have said. You know about\nthings, and if it is too much or too little, you can tell me.\" Then\nhe read her letter, which ran as follows.", "myself. I feel above bothering her any more. When she sat down to\nwrite a letter like that she must have been in earnest.\"", "its tone, or induce her to put it aside altogether; but when on\nSunday morning none came, her own was sent. The word in it which\nfrightened herself was the word \"engaged.\" She tried various other", "This was a much nicer letter than Arabella had expected, as there\nwere one or two touches in it, apart from the dead man and the", "of Eleanor. A week of this kind of thing had not gone by before\nMiss Penge found herself able to talk of and absolutely to describe\nthis peculiar feeling, and could almost say how pleasant was such", "\"It is the falsest, the most impudent, and the most scandalous letter\nthat a man ever wrote to a woman. I could horsewhip him for it myself\nif I could get near him.\"", "opposite, and as I have nothing else on earth to do, I\n think I might as well answer your letter. Poor old Major!\n I am sorry for him, because he rode so bravely. I shall", "he was master of considerable humour. But he brought it all round at\nlast to his own purpose, and ended this episode of his lecture by his\nview of the absurdity and illegality of British hunting. \"I can talk", "smiles or, on occasion, for genuine laughter. He was a masterful but\na pleasant man, very civil to customers and to his friends generally\nwhile they took him the right way; but one who could be a Tartar if", "\"Well, yes; I should have said so myself. And I do flatter myself\nI shall be missed. But what had I before me here? This may lead to\nsomething.\"\n\n\"Indeed you will be missed, Mr. Green.\"", "so usual among them that at the present moment they excited no great\ndanger. \"There's his letter. I suppose you had better read it.\" And\nshe chucked the document to her mother.", "he could write and say that I had made a mistake! I have sometimes\npitied men when I have seen girls hunting them down, but upon my word\nthey deserve it.\" This renewal of spirit did something to comfort", "slight degree. For a few months after the publication of the figures\na slight tinge of melancholy comes upon the town. The landlord of the" ], [ "Then Sundown was desired by his wretched employer to go into the back\nsettlement and the poor man prepared himself for the battle as well\nas he could. \"She is not happy here,\" he said.", "\"Who is there? Monsoon won't go, even if they ask him. The Paragon\nwas just the fellow for it. He had his heart in the work. An immense", "\"I do work.\"\n\n\"And hunt. Go out to-morrow and show yourself to everybody.\"\n\n\"If I could break my neck I would.\"", "her. But I think that you and I had better leave her to herself in\nthis matter.\" Further on in the same evening, or rather late in the\nnight,--for they had then sat talking together for hours over the", "him,--specially,--she would tell her tale almost as plainly as\nthough she were to run after him. He greeted her kindly, almost\naffectionately, expressing his extreme regret that his visit to", "She hadn't called him Larry for a long time and the sound of his\nown name from her lips gave him infinite hope. \"Come and try. Say", "\"Yes, papa;--everything that there is to be told.\" Then there arose\nwithin his own bosom an immense desire to know that secret, so that", "He was older than she, nearly twenty years older, and even in his\nyounger years, in the hard struggles of his early life, had never\nregarded himself as a man likely to find favour with women. There", "friend;\" and the ring with the other tribute went to Patagonia. He\nhad certainly behaved very badly to her, but she was quite sure that\nhe would never tell the story of the ring to any one. Perhaps she", "the room for what seemed to him the greater part of a day. He looked\nrepeatedly at his watch, and at half-past ten declared to himself\nthat if that fat old fool did not come within two minutes he would", "\"Shake yourself, old fellow, and don't carry on like that. What is\nshe after all but a girl?\" The poor fellow looked at his intending", "has in truth been our hero. He went away on his fishing expedition,\nand when he came back the girl of his heart had become Mrs. Morton.\nHunting had long been over then, but the great hunting difficulty", "words to him in privacy. Then he would partly relent, would kiss her\nand bid her be a good girl, and would quickly hurry away from her.\nShe could understand that he suffered as well as herself, and she", "\"And the man's face as he passed me going to the leap! It will haunt\nme to my dying day!\" Then she shivered, and gurgled in her throat,\nand turning suddenly round, hid her face on the elbow of the couch.", "\"There is nothing to tell.\"\n\n\"Nothing?\"\n\nShe thought a moment before she answered him and then she said,\n\"Nothing. What should I have to tell?\" she added trying to laugh.", "\"A poor fellow was killed out hunting and everybody was talking about\nthat. Your daughter saw it herself.\"", "\"Dying!\"\n\n\"So he says. Oh, what an unfortunate wretch I am! Everything that\ntouches me comes to grief.\" Then she burst out into a flood of true\nunfeigned tears.", "He was not dressed as usual. In the first place, there was a round\nhat on the table, such as men wear in cities. She had never before", "there had been something to interest her. There had been something\nto fear and something to hope. The girl had always had some prospect\nbefore her, more or less brilliant. Her life had had its occupation,", "possessed of infinite pluck, and now that he was dying could bear it\nwell. But he had loved no one particularly, had been dear to no one\nin these latter days of his life, had been of very little use in" ], [ "promise!\" And her stepmother also had declared that she \"must be made\nto help it,\"--or in other words be made to marry Mr. Twentyman in", "some time felt that her step-mother intended her to understand that\nher only escape from home would be by becoming Mrs. Twentyman. \"I\ndon't think it will be possible, Mr. Morton.\"", "money is all gone. Let her stay here and be made to marry Lawrence\nTwentyman. That's what I say.\"", "the allusion was not fair. \"What I want to know is this;--are you\nprepared to marry Lawrence Twentyman?\" To this question, as Mary", "Mr. Twentyman, and the injustice of that threat had at once made\nher rebel against her stepmother's authority. She would never allow\nher stepmother to make her marry any one. She put herself into a", "\"I don't know what you mean, Mr. Morton.\" She then thought that he\nwas still alluding to Lawrence Twentyman.\n\n\"Tell me, Mary.\"\n\n\"What am I to tell you?\"", "stepmother alone in the parlour and was at once attacked with the all\nimportant question. \"My dear, I hope you have made up your mind about\nMr. Twentyman.\"", "\"Just that. Mrs. Masters thinks that Mr. Twentyman would make an\nexcellent husband. And so do I. There's nothing in the world against", "an aggravation of the evil which was being done. She was not in\nthe least afraid of Reginald Morton; but this attendance on Mary\nwas in the eyes of her stepmother a cockering of her up, a making", "once be made to understand that she would not be allowed to be a fine\nlady, and then she would marry Mr. Twentyman quick enough. But this", "Mary herself, hoped that Mr. Twentyman might prevail at last. The\nman was worth six or seven hundred a year, and had a good house, and", "Twentyman,\" said Mrs. Masters. \"And now, my dear, do, do think of it\nbefore you go to him.\" There was no anger now in her stepmother's", "\"That she is going to take poor Larry after all. She might do worse,\nMr. Masters.\"\n\n\"Poor Larry! I am sorry for him. I have always liked Larry Twentyman.\nBut that is all over now.\"", "speak to her father first. She knew well what would be the great, or\nrather the real objection. Her mother would not wish that she should\nbe removed so long from Larry Twentyman. There might be difficulties", "any rate as yet, a cruel stepmother; but still, if the girl could be\ntransferred to so eligible a home as that which Mr. Twentyman could\ngive her, it would be well for all parties.", "to accept it. Latterly, for the last month or two, her distaste to\nthe kind of life for which her stepmother was preparing her, had\nincreased upon her greatly. There had been days in which she had", "herself to marry him without loving him,--to marry him because her\nfather wished it, and because her going from home would be a relief\nto her stepmother and sisters, because it would be well for them", "her. Lady Ushant evidently thought Larry Twentyman to be good enough\nas soon as she heard what Mary found herself compelled to say in the\nyoung man's favour. Mary was almost disappointed; but reconciled", "they had given her a distaste for what might have otherwise been\nhappiness and good fortune. There had been moments in which she\nhad told herself that she ought to marry Larry Twentyman and adapt", "explained to her that Lawrence Twentyman, though not poor, had other\nplans of life and thought of leaving the neighbourhood. She, of\ncourse, had the money; and as she believed that land was the one" ], [ "It was not John Morton whom Arabella Trefoil had called nasty and\nodious. She had had many lovers, and had been engaged to not a few,", "the United States with her daughter, and had there fallen in with Mr.\nJohn Morton. Arabella Trefoil was a beauty, and a woman of fashion,", "And they, too, had heard of Mr. John Morton. They too were a little\nafraid of Arabella though she was undoubtedly the niece of a Duke.", "Augustus having been very urgent. John Morton, who had really been\ncaptivated by the beauty of Arabella, was quite in earnest; but there", "and Mr. Mainwaring the younger lady,--so that Arabella was sitting\nnext to her lover. It had all been planned by Morton and acceded to", "But, in spite of these doings, Arabella had insisted on complying\nwith John Morton's wish that she go down and visit him in his bed", "and said that it was all right. The other ladies of course agreed,\nand partners were selected within the house party. Lord Rufford\nstood up with Arabella and John Morton with Lady Penwether. Mr.", "in the event of his death. Mrs. Morton was herself very old, and was\nnear her grave. She was apt to speak of herself as one who had but a", "John Morton was lying ill at Bragton;--a fact of which Arabella was\nnot aware.", "sold, and that difficulty was surmounted, not without a considerable\ndiminution of income. In process of time the grandson, who was a\nsecond John Morton, grew up and married, and became the father of a", "it herself. That she had been engaged to John Morton she did not\ndeny; but she threw the blame of that matter on her mother, and\nexplained to him that she had broken off the engagement down at", "he should take such a one as Arabella Trefoil. Therefore she thought\nthat she might judiciously ask Mr. Morton a few questions. \"I believe", "\"What did Lord Rufford say?\" Arabella here made a grimace. \"You\ncan tell me something. What are the lawyers to say to Mr. Morton's\npeople?\"\n\n\"Whatever they like.\"", "Just before they took their departure Lady Ushant came to Arabella\nsaying that Mr. Morton wanted to speak one other word to her before", "CHAPTER XXVII.\n\nARABELLA AGAIN AT BRAGTON.", "he could not marry Arabella,--though he loved her better than all the\nworld. Arabella asked some questions about her mother's shopping and\ngeneral business in town, and did not leave the room till she could", "said Arabella, who had long since provided herself with this\nquotation for such occasions. \"I hope I am not exactly dying, Mrs.", "marriage should then be thought desirable. But, at the present\nmoment, Arabella was still hot in pursuit of Lord Rufford;--to whom\nthis journey, as soon as it should be known to him, would give the", "While these great efforts were being made by Arabella Trefoil at\nMistletoe, John Morton was vacillating in an unhappy mood between", "Arabella, though bad, had been badly treated. She had disbelieved,\nand then believed, and had again disbelieved Arabella's own statement" ], [ "who was the one that he specially liked himself. And Mary was not\naltogether averse to him, knowing him to be good-natured, manly,", "care much for female beauty, and yet he felt that he could sit and\nlook at Mary Masters by the hour together. There was a quiet even\ncomposure about her, always lightened by the brightness of her modest", "\"To my thinking there is a sweetness about her which I have never\nseen equalled in any young woman.\" This was said by Lady Ushant to\nher nephew after Mary had gone to bed on the night before he left.", "Mary, as soon as she saw him, blushed up to her eyes, then turning\nround looked with wistful eyes into the face of the man she was", "learning her duty already. She'll be able to have every bedstead and\nevery chair by heart, which is an advantage ladies seldom possess.\"\nThen Mary rushed forward and was received into the old woman's arms.", "would give him a kiss and call him her son. And she believed what she\nsaid. This, she thought, was merely Mary's way of letting herself\ndown without a sudden fall.", "She had daughters of her own, and would solace herself by declaring\nto them, to her husband, and to her specially intimate friends, that\nof course they would see no more of Mary. It wasn't for them to", "\"No; nothing.\"\n\n\"I wish we could be friends, Mary. I wish I could know your secret.\nYou have a secret.\"\n\n\"No,\" she said boldly.", "Mary herself, hoped that Mr. Twentyman might prevail at last. The\nman was worth six or seven hundred a year, and had a good house, and", "\"And what does Mary say herself?\"\n\n\"I fancy she has refused him.\" Then he added after a pause, \"Indeed I\nknow she has.\"", "\"You ought,--you ought to have chosen some lady of high standing,\"\nsaid Mary, thinking with ineffable joy of the stately dame who was", "girl will be able to be happy and contented without that. But a lone\nlife is a poor life, and a good husband is about the best blessing\nthat a young woman can have.\" To this proposition Mary perhaps agreed", "\"And yet there was somebody!\" She pouted her lips at him, glancing up\ninto his face for half a second, and then again hung her head down.\n\"Mary, do not grudge me my delight.\"", "man she loved. \"Mary, say that you will think of it once more,\"\npleaded Mrs. Masters.", "by her stepmother without harsh words, and that her sisters were\nencouraged to be disdainful to her, then his heart rose within\nhim and he rebelled. He declared aloud that Mary should not be", "been staying there. Unfortunately I have never had anything that I\nneed do in all my life, and therefore I have shut myself up as you\ncall it. I wonder what your life will be.\" Mary blushed and said", "and poetry put forward by Mrs. Masters. Books and poetry would not\nteach a girl like Mary to reject her suitor if she really loved him.", "When Mary Masters got up on the morning after her arrival she knew\nthat she would have to endure much on that day. Everybody had smiled", "All that evening, and almost all the night, and again on the\nfollowing morning Mary turned it over in her mind. She was quite sure", "Poor Mary almost understood it, but was not quite sure of her\nfriend's meaning. She was, however, quite sure that if such were the" ], [ "THE AMERICAN SENATOR\n\nby\n\nAnthony Trollope", "the Senator. Among themselves it was sufficient to repeat the\nwell-known fact that Goarly was a rascal; but with reference to this\naggravating, interfering, and most obnoxious American it would be", "GUTENBERG EBOOK THE AMERICAN SENATOR***\n\n\nE-text prepared by Tapio Riikonen\nand revised by Joseph E. Loewenstein, M.D.", "\"Bearside has got his money from the American Senator, my lord,\" said\nLarry.", "CHAPTER XXIII.\n\nTHE SENATOR'S LECTURE.--NO. I.", "American went or not,--except that his letter would have been easier\nto him in accepting the invitation for three persons than for four.\nBut the Senator was of course willing. It was the Senator's object to", "CHAPTER XIV.\n\nTHE SENATOR IS BADLY TREATED.", "CHAPTER XXIV.\n\nTHE SENATOR'S SECOND LETTER.", "\"My Senator as you call him will be quite up to the occasion.\"\n\n\"You knew him in America, Miss Trefoil?\" asked Lady Penwether.", "Quinborough as a candidate in opposition to the nobleman's nominee.\nHe had been backed by all the sympathies of the American Senator who\nknew nothing of him or his unfitness, and nothing whatever of the", "he was almost glad to welcome the Senator. At any rate he had no\nmeans of escaping, and the Senator came. The two men were alone at\nthe house and the Senator was full of his own wrongs as well as", "Senator had never been in England before and was especially anxious\nto study the British Constitution and to see the ways of Britons with\nhis own eyes. He had only been a fortnight in London before this", "the Senator, but he was afraid that if nothing were to be said to\nArabella she would hear of it hereafter and would complain of such\ntreatment. He therefore directed that the man might be kept waiting", "CHAPTER II.\n\nTHE SENATOR'S LETTER.", "man. \"I don't think,\" said he when John Morton had taken the Senator\naway, \"that in my whole life before I ever met such a brute as that\nAmerican Senator.\"", "\"Have a care, Dan;--have a care!\" whispered the wife.\n\n\"Allow me to assure both of you,\" said the Senator, \"that you need\nfear nothing from me. I have come quite as a friend.\"", "\"Heard of it! who hasn't heard of it?\"--At this moment the messenger\ncame in again and the Senator was announced. \"Lord Drummond will", "for that night. The row was so great that it did not matter much what\nhe said, but the people soon understood that the American Senator was\nnot to appear before them again.", "company.\" As the Senator said this he was grieving in his heart at\nthe trouble he had occasioned, and was almost repenting the duties\nhe had imposed on himself; but, yet, his voice was bellicose and", "THE SENATOR'S LECTURE.--NO. II." ], [ "CHAPTER XXVII.\n\nARABELLA AGAIN AT BRAGTON.", "What a home it was,--and what a journey up to town! Arabella had\ntold her mother that the letter to Lord Rufford had been written and", "Arabella, though bad, had been badly treated. She had disbelieved,\nand then believed, and had again disbelieved Arabella's own statement", "\"It appears not,\" said Arabella.\n\n\n\n\nCHAPTER II.\n\n\"NOW WHAT HAVE YOU GOT TO SAY?\"", "Arabella felt that a great deal of the compliment was taken away by\nthe postscript; but still she was grateful and contented.\n\n\n\n\nCHAPTER V.", "Arabella when she heard of the man's departure on the following\nmorning, which she luckily did from her own maid, was for some time", "in Orchard Street, and there repeated his story. \"I have done all I\ncan,\" he said, \"and I don't mean to interfere any further. Arabella\nshould know how to manage her own affairs.\"", "Lord Rufford's letter reached Arabella at her cousin's house, in due\ncourse, and was handed to her in the morning as she came down to", "\"Arabella,\" said the mother, \"it is clear that you do not look into\nthe future. How do you mean to live? You are getting old.\"\n\n\"Old!\"", "said Arabella. And the poor woman did do nothing of the kind. \"What\nis it to them whether I see the man or not?\" the girl said. \"They are", "he could not marry Arabella,--though he loved her better than all the\nworld. Arabella asked some questions about her mother's shopping and\ngeneral business in town, and did not leave the room till she could", "that she found herself compelled to assent. Then he spoke out to her.\n\"Arabella,\" he said, \"I am not quite content with what has been going\non since we came to this house.\"", "\"I believe it is Lord Rufford's house,\" said Arabella.\n\n\"If Miss Trefoil's frame of mind will allow her to sit at table with\nme I shall be proud to see her,\" said Lord Rufford.", "During the first evening Arabella did contrive to make herself very\nagreeable. She was much quieter than had been her wont when at", "other ladies,--and there seemed during the dinner to be an air of\nunhappiness over them all. They retired as soon as it was possible,\nand then Arabella at once went up to her bedroom.", "having saved only some few hundreds a year from the wreck of her own\nfortune. Independently of her her daughter had nothing. And in spite\nof this poverty Arabella was very extravagant, running up bills for", "\"Was that at Mistletoe or Rufford?\"\n\n\"At Mistletoe, mamma,\" replied Arabella, stamping her foot.", "\"And you mean to say that she must put up with it?\" Arabella was\nsitting by as these questions were asked.\n\n\"He says that he never said a word to her. Whom am I to believe?\"", "And now, of late, Arabella had been talking of living separately from\nher mother. Lady Augustus, who was thoroughly tired of her daughter's", "of asking Arabella whether she wished to be relieved from her\nengagement. She had never quite given him the opportunity. She\nhad always been gracious to him in a cold, disagreeable, glassy" ], [ "customers to drink. The church, too, is of brick--though the tower\nand chancel are of stone. The attorney's house is of brick, which\nshall not be more particularly described now as many of the scenes", "smoke out of his mouth at long intervals, and thinking perhaps of\nthe great book which he was supposed to be writing. As he sat there\nnow, he suddenly heard voices and laughter, and presently three girls", "\"When did he propose and where?\"\n\n\"At Rufford. We were staying there in November.\"\n\n\"And you asked to come here that you might meet him?\"", "locality. But how it came to pass that he first got himself to\nDillsborough, or his father, or his grandfather before him, has\nalways been a mystery to me. The town has no attractions, and never", "They had both passed their childish years there, but could have but\nlittle thought that they were destined then to love and grow old\ntogether. \"I was longing, longing, longing to come,\" she said.", "and Church Square. But though the house enjoys the privilege of a\nlarge garden,--so large that the land being in the middle of a town\nwould be of great value were it not that Dillsborough is in its", "three years before the events which are now chronicled, had retired\non a competence. He had then taken a house with a few acres of\nland, lying between Rufford and Rufford Hall,--the property of Lord", "room, and there, over the fire, was holding a little domestic\nconversation. \"I never saw such a barrack in my life,\" said Lady\nAugustus.", "As we are passing through London on our way from one\n purgatory with the Gores to another purgatory with old\n Lady De Browne, and as mamma is asleep in her chair", "It was late in April when she went down to Mistletoe, the marriage\nhaving been fixed for the 3rd of May. After that they were to spend a", "Then Sundown was desired by his wretched employer to go into the back\nsettlement and the poor man prepared himself for the battle as well\nas he could. \"She is not happy here,\" he said.", "\"Well,--I suppose so,\" she said trying to smile. \"You were so very\nquiet and I thought you were in London.\"\n\n\"So I was this morning, and now I am here. But something else has\nmade you unhappy.\"", "\"You have your business and your pleasures, your horses and your\nfields and your friends. I have nothing,--but to remain here and know", "vast accompaniment of little lies, was told. There must be a meeting\non business matters between her and her mother, and her mother was\nnow in the neighbourhood of Birmingham. This was the lie told to Mrs.", "This was going on while Lord Rufford was shooting in the\nneighbourhood of Dillsborough; and when the letter was being put into", "Such, at the time of our story, was the little town of Dillsborough.\n\n\n\n\nCHAPTER II.\n\nTHE MORTON FAMILY.", "At six o'clock one November evening, Mr. Masters, the attorney, was\nsitting at home with his family in the large parlour of his house,", "CHAPTER XXI.\n\nTHE FIRST EVENING AT RUFFORD HALL.", "whom nobody would ever again desire to see. She had her things\npacked up, and herself taken off to London, almost without a word of\nfarewell to the Duchess, telling herself as she went that the world", "not yet ten years old, in the midst of this city of London. But when\nI came to Brentford, everything was changed. I was not in a town at\nall though I was surrounded on all sides by houses. Everything around" ], [ "There is a story of an old hero who with his companions\n fell among beautiful women and luscious wine, and, but\n that the hero had been warned in time, they would all", "have been turned into filthy animals by yielding to the\n allurements around them. The temptation here is perhaps\n the same. I am not a hero; and, though I too have been", "\"A little I think--before you knew him. But he is not despicable.\"\n\n\"Not at all, my dear.\"\n\n\"He is honest and good, and has a real heart of his own.\"", "She observed it all, and thought that he had not changed for\nthe better. As she looked into his face, it seemed to her more\ncommon,--meaner than before. No doubt he was good-looking,--but his", "\"I always hated him from the first moment I saw him. What do you\nexpect from a fellow who never gets a-top of a horse?\" Then he turned\naway, and was not seen again till long after tea-time.", "possessed of infinite pluck, and now that he was dying could bear it\nwell. But he had loved no one particularly, had been dear to no one\nin these latter days of his life, had been of very little use in", "\"They suspect him.\"\n\n\"That man with the gun! One man against two hundred! Now I respect\nthat man;--I do with all my heart.\"", "has in truth been our hero. He went away on his fishing expedition,\nand when he came back the girl of his heart had become Mrs. Morton.\nHunting had long been over then, but the great hunting difficulty", "\"Of course he is. Everybody knows that. What the deuce was the good\nthen of our going down there? I couldn't do anything, and I knew", "that a man was a heartless, cruel, slippery animal, made indeed to be\ncaught occasionally, but in the catching of which infinite skill was\nwanted, and in which infinite skill might be thrown away. But this", "\"Everybody is my enemy,\" said Arabella. \"There are no such things as\nlove and friendship. Papa pretends that he does not believe me, just", "the room for what seemed to him the greater part of a day. He looked\nrepeatedly at his watch, and at half-past ten declared to himself\nthat if that fat old fool did not come within two minutes he would", "the man's character as portrayed by what he then heard. The man,--a\npoor man too and despised in the land,--was standing up for his", "off, and if thoroughly angered he would no doubt use it. Day by day,\nand almost hour by hour, he was becoming more sombre and hard, and", "\"Dying!\"\n\n\"So he says. Oh, what an unfortunate wretch I am! Everything that\ntouches me comes to grief.\" Then she burst out into a flood of true\nunfeigned tears.", "\"He was not dying then.\"\n\n\"Psha!\"\n\n\"Oh yes. I know all that. I do feel a little ashamed of myself when I\nam almost crying for him.\"", "\"It's that scoundrel Goarly\" had been repeated again and again; and\nthen on a sudden Goarly himself was seen standing on the further", "course told it accordingly. Goarly was a very poor man, and very\nignorant; was perhaps not altogether so good a member of society as\nhe might have been; but no doubt he had a strong case against the", "good for such a scoundrel.\" This was said after the third glass of\nchampagne, but the opinion was one which was well received by the\nwhole company. After that the Senator's conduct was discussed, and", "\"It is the falsest, the most impudent, and the most scandalous letter\nthat a man ever wrote to a woman. I could horsewhip him for it myself\nif I could get near him.\"" ], [ "The battle was carried on very fiercely in Mr. Masters' house in\nDillsborough, to the misery of all within it; but the conviction", "again,--and again sat down. The struggle was going on within her, and\nhe perceived something of the truth. \"Say the word once, Mary;--say", "man;--and it was thus that he punished her! She was alive to the\nfeeling that he had always been true to her. In her intercourse with\nother men there had been generally a battle carried on with some", "and all the little wickednesses which she had loved. But they,--those\nothers had, one and all, struggled to escape from her. Through all", "bitterness enough, but generally with good final results. But in the\nmeantime there has sprung up a jealousy which makes each inclined\nto hate the other at first sight. Hate is difficult and expensive,", "Then Sundown was desired by his wretched employer to go into the back\nsettlement and the poor man prepared himself for the battle as well\nas he could. \"She is not happy here,\" he said.", "communication whatever between them, and therefore there could hardly\nbe a quarrel. He disliked his cousin; nay, almost hated him; he\nwas quite aware of that. And he was sure also that he hated that", "It was there and there only that she had seen together the two men\nwho between them seemed to cloud all her life,--the man whom she\nloved and the man who loved her. She knew now,--she thought that she", "\"You must not do that,\" she said, getting up and laying hold of his\narm.\n\n\"But I must do it.\"", "the first she made up her mind to oppose her stepmother's cruelty by\nsheer obstinacy. She had been told that she must be made to marry", "long-suffering race, who only now and then feel themselves\n stirred up to contest a point against their masters on the\n basis of starvation. \"We won't work but on such and such", "There is a story of an old hero who with his companions\n fell among beautiful women and luscious wine, and, but\n that the hero had been warned in time, they would all", "allow themselves to be brought together. But, oh, what peril had been\nthere! It was but the other day she had striven so hard to give the", "words to him in privacy. Then he would partly relent, would kiss her\nand bid her be a good girl, and would quickly hurry away from her.\nShe could understand that he suffered as well as herself, and she", "\"That's just it, Mr. Ribbs,\" said Harry Stubbings. \"It's all meant\nfor opposition. Whether it's shooting or whether it's hunting, it's", "the dogs, and she would not lift up her hands again to save them. But\nbefore the evening came round she was again on the alert, and again\nresolved that she would not even yet give way. What was there in a", "\"That's just what I must do. Nobody else can fight my battles for\nme.\"\n\n\"What are you going to do about Mr. Morton?\"\n\n\"Nothing.\"", "had been serious and stern and uncomfortable as he. There had been\nno other who had ever attempted to earn his bread. To her the\nbutterflies of the world had been all in all, and the working bees", "or which, at least, she ought not to hear.\" He did not contradict\nthis in words, feeling himself to be too weak for contest; but\nwithin his own mind he declared that it was not so. The things which", "had been to be near him and to listen to his whispered voice! How\ngreat was the difference between him and that other young man, the\nsmartness of whose apparel was now becoming peculiarly distasteful to" ] ]

[ "Why doesn't Mary Masters tell Reginald how she feels?", "Why does Arabella Trefoil want to marry Lord Rufford instead of John Morton?", "Who does Arabella Trefoil agree to marry after John Morton dies?", "What is mounser Green's official title? ", "What does Mary Master's fear upon learning that Reginald Morton has become the new squire?", "What is the fictional state that U.S. Senator Elias Gotobed represents?", "What county does this story represent?", "Who does Mary Master's stepmother want her to marry?", "Whose parents are unofficially separated? ", "What are Mary Masters' feelings toward Lawrence Twentyman?", "Who is it that Mary secretly admires?", "Why doesn't Reginald initially propose marriage to Mary?", "Where do Arabella Trefoil and her mother live?", "What is Arabella's marital goal?", "What happens to John Morton to make him unable to marry Arabella?", "What does Mounser Green offer Arabella?", "When John Morton dies, how does that affect Reginald Morton's status?", "How do things resolve between Reginald and Mary?", "What is the tone of this piece? ", "Who is the protagonist in this story? ", "Why does Mary's step-mother want her to marry Lawrence Twentyman? ", "Who does Arabella marry after John Morton dies? ", "Who does Mary admire? ", "Who is The American Senator?", "Where does Arabella live? ", "What is the setting of this novel? ", "Who is the anti-hero of this story? ", "Who is the struggle between in this story? " ]

[ [ "Because she is a gentlewoman and she cannot go against tradition", "because she is a gentlewoman and it is against societal customs for her to do so" ], [ "Because Lord Rufford is wealthier and has a higher status", "Lord Rufford has a title and is wealthy " ], [ "Mounser Green", "Mounser Green." ], [ "Ambassador Designate to Patgonia", "Foreign Office Clerk." ], [ "That he has moved to far up in class for her", "He has moved too far above her in status. " ], [ "Mikewa", "Elias Gotobed represents the state of Mikewa." ], [ "Rufford County", "Rufford County" ], [ "Lawrence Twentyman", "She believes it would be best for Mary if she were married " ], [ "Arabella Trefoil", "Arabella Trefoil." ], [ "She respects him, but doesn't think she could ever love him.", "Mary respects Twentyman but does not love him." ], [ "Reginald Morton.", "Mary admires Reginald Morton, who is one of the two major land owners in the county." ], [ "He thinks she loves someone else, and so fears rejection.", "Reginald does not propose initially to Mary as he thinks that Mary loves another and he does not want to be rejected." ], [ "They don't have a home, but live as guests with people they know.", "they have no home but travel from place to place staying with other people" ], [ "To marry a rich man so she and her mother can have financial security and higher social standing.", "A rich husband who can give her a fixed income and status" ], [ "He gets sick and dies.", "he gets sick and dies" ], [ "A marriage proposal.", "marriage" ], [ "Reginald becomes the squire of Bragton.", "he becomes squire of Brigton" ], [ "Reginald confesses his love and they plan to marry.", "Reginald confesses his love to her and proposes." ], [ "Humorous", "The tone is foolishness on the English people. " ], [ "Mary Masters", "Mary Masters" ], [ "So Mary will marry into money and gentility", "He is a prosperous young farmer. " ], [ "Mounser Green", "Mounser Green" ], [ "Reginald Morton", "Mary admires Reginald Morton." ], [ "Elias Gotobed", "Elias Gotobed" ], [ "She travels to place to place. ", "no specific place" ], [ "Dillsborough, Rufford County, England", "Dillsborough, Rufford Count" ], [ "Arabella", "Arabella Trefoil" ], [ "the girls vs. society", "Mary and Arabella " ] ]

[ [ "BASQUIAT\n Let's get out of here.\n\nHe leads her towards the exit. They step out of the club.\n\n\nEXT. MUDD CLUB - NIGHT", "BASQUIAT\n Wait, I'm in a band....We're at the Mudd\n Club on Halloween. I'll put you on the\n list.\n\nGina turns and looks back at Jean.", "GINA\n (smelling)\n You do! You definitely do.\n\n BASQUIAT\n Just come to the Mudd Club on Friday.", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "BASQUIAT\n You want some?\n\nHe offers her the joint.\n\n\nEXT. ST. MARK'S PLACE - NIGHT", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "BASQUIAT\n Mmmm. I don't know. I don't remember.\n\n\nINT. FANCY GOURMET DELI - DAY", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n (at the window)\n Come on in!\n\n CUT TO:", "we recognize from earlier scenes in Mudd Club, Jean's opening,\netc). On the wall there is a portrait of Jean by Andy. The\nbackground is a piss painting.", "BASQUIAT\n Yeah... I'll paint on it.\n\n\nINT. PARTY - NIGHT", "BENNY\n Your people.\n\n BASQUIAT\n Oh - you mean black people!", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "BASQUIAT\n I'm here.\n\n MARY BOONE\n OK. I'll be at your studio Thursday three\n o'clock.", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "BASQUIAT\n Bring him over sometime. I have some other\n stuff to show him.\n\nAnnina watches from the other table as Jean talks to Mary.\n\nFrancesco finishes his drawing.", "Jean arrives behind them.\n\n BASQUIAT\n What's up?\n\n KID #1\n Mind your own fuckin' business." ], [ "A well-dressed black BOY and his MOTHER walk through several\ngalleries.\n\nThey stand before Picasso's \"Guernica,\" holding hands.\n\nThe mother is disturbed. Crying.", "Jean bends over, beginning several canvases. He pours paint on\nthem - kind of like photographs we've seen of Jackson Pollock. We\nHEAR Miles Davis' \"Flamenco Sketches.\"", "Jean and the interviewer face each other in front of one of\nJean's paintings. Jean stares at the interviewer, incredulous.", "Jean continues to work. He's wearing pajamas and a bathrobe.\n\nGina enters, waking up.\n\nShe looks at the painting.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "A huge white painting of Jean's with a dragon's head hangs on one\nwall to their left. On the opposite wall in back of the bar hangs\nanother huge painting with a lot of heads, mostly black.", "He works like a maniac, buzzing back and forth from one painting\nto another, adding figures, crossing out words, all the while\nsmoking and eating cookies. The crumbs fall onto the paintings.\nHe walks on them.", "we recognize from earlier scenes in Mudd Club, Jean's opening,\netc). On the wall there is a portrait of Jean by Andy. The\nbackground is a piss painting.", "Milo takes his time looking at the paintings.\n\nJean continues to work, never wanting to appear impressed by\nanyone. He walks on top of the paintings.", "Jean makes his way through the crowd, as we see images of the\ncrowd and fragments of paintings. As he nears the door, he feels\nhis arm pulled.", "As she speaks, Jean squirms. He grabs a banana from a fruit bowl.\nWithout peeling it, he takes a big bite. And another. And\nanother. Everyone looks uncomfortable. Annina starts showing them\nthe paintings.", "He shakes himself off and collects his stuff, which includes: a\nsmall book of Pontormo drawings, a can of black spray paint. and\na cigar box made into a loudspeaker with pencil holes and masking\ntape.", "Washed in sunlight, a large painting leans against the wall, the\nwords \"HAITIAN BASEBALL FACTORIES\" scrawled through its center.\n\nJean lays down, watching TV.", "At the large table, everyone watches as Milo makes a portrait of\nFrancesco in a beautiful leatherbound book. It belongs to Mr.\nChow, who is nearby at the bar.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "Jean regards a near-finished painting. He writes \"5:11\" on it. He\ncrosses it out and re-writes it, \"Rene 5:11.\" Rene looks pleased.", "Rockets leads Jean aside. They stand near a wall where a painting\nhangs (\"Flats Fixed\"). It bears Jean's three-point crown.\n\n ROCKETS\n You did that, didn't you?", "Rene looks to him and back at the painting. He takes one last\nlook.\n\nHe stumbles towards the window and grabs the binoculars from\nArtist #1..", "INT. THE FACTORY - DAY\n\nJean enters a broad, high-ceilinged studio. It's neat. Paintings\nlie on the floor." ], [ "Bruno picks up one of the cards.\n\n BASQUIAT\n You wanna buy some ignorant art? Ten bucks.\n\n ANDY WARHOL\n Ignorant art?", "BASQUIAT\n You made a good deal. Here, you can have\n these, too.\n\nHe leaves all the cards and walks toward the door.\n\n\nBRUNO'S POV:", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT\n Well, that's better.\n (to Maria)\n You can buy direct from me.", "ALBERT MILO\n (amused)\n No. Should I have?\n\n BASQUIAT\n I'm a painter, too.", "He hands two one hundred dollar bills for the other items to the\ncounterman, who checks them carefully.\n\n BASQUIAT (CONT'D)\n You check everyone's bills or just mine?", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "BASQUIAT\n I wish you niggahs could get it togeth-\n ahhhhhh.\n\nThe Executive reaches to shake Jean's hand. Jean puts a hundred\ndollar bill in his hand.", "BASQUIAT\n Ten bucks apiece.\n\n ANDY WARHOL\n I can give you five. You didn't do very\n much to these.", "BASQUIAT\n I'll take it.\n (wipes nose with sleeve.)\n Andy, gimme three thousand dollars.\n (beat)\n Just the caviar - I'll get the rest.", "BASQUIAT\n I'll make you another one.\n\n RENE\n Forget it.\n\nHe pulls out a scrap of paper and starts writing.", "BASQUIAT\n I'll take the whole tin.\n\n COUNTERMAN\n It's three thousand dollars!", "KID #1\n (enthusiastically)\n Yo, man, you're a damn lucky nigger selling\n this shit!\n\n BASQUIAT\n You like it?", "BASQUIAT\n I was a kid then.\n\n HENRY\n (to Rene)\n How much are these?", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "BASQUIAT\n There you go. Now it's worth more.\n\nThe kids are outraged, thinking Jean's ruined their find.\n\nThey jump on him.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?" ], [ "INT. GINA'S APARTMENT - NEXT MORNING", "He HITS his head against the door harder and harder.\n\n FADE TO WHITE\n\n\nINT. GINA'S APARTMENT - MORNING", "GINA (CONT'D)\n Wake up! I'm back!\n\nShe shakes his arm. No result. She lifts his head, revealing his\npainted hair.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "Gina lays in bed. Daylight streams into the apartment.\nJackhammers RATTLE outside. (Music: REGGAE SONG - Errol\nScorcher's \"Cockroach in de Corner.\")", "No reply.\n\nGina's asleep.\n\n\nINT. GINA'S APARTMENT (KITCHEN) - LATER (NIGHT)", "Gina gives Jean a look. She stands, still wrapped in the drop\ncloth. She lets it fall to the floor. She's wearing only her\nunderwear. She walks to the bedroom. Benny watches her.", "They start to laugh.\n\n\nINT. GINA'S APARTMENT - LATER", "INT. GINA'S APARTMENT - NIGHT\n\nJean and Gina are sleeping.\n\nSERIES OF DISSOLVES: As they're turning together in their sleep.", "GINA\n\n You don't have any fucking money..\n\nJean lets her cry for a moment, then notices the music playing on\nthe stereo - a Gypsy song sung in Spanish.", "Jean continues to work. He's wearing pajamas and a bathrobe.\n\nGina enters, waking up.\n\nShe looks at the painting.", "FADE TO BLACK\n\n FADE UP:\n\n\nINT. KITCHEN / LIVINGROOM (GINA'S APARTMENT) - DAY", "GINA\n (slapping his face)\n Don't do this to me.\n\nShe shakes him until his eyes unglue. His pupils float into their\nproper place.", "ANNINA NOSEI\n How about right now?\n\nShe opens the door.\n\nUnnoticed, Gina starts for the bedroom.", "The landlady looks at him like he's crazy. She balls up the\ndrawing and puts it in her pocket.\n\nGina arrives in the doorway, wearing a robe. The landlady's\ntrapped between them.", "GINA\n (calling back)\n Be ready in a minute!\n\n CUT TO:\n\n\nTHE DOOR SLAMS", "GINA\n (to Jean)\n What're you doing?\n\nThe landlady wags her finger at Gina.\n\n LANDLADY\n Next Monday.", "CAMERA PULLS BACK: Revealing Jean's eyes. They're open and\nmotionless. His head is tilted toward his chest.\n\nOFF SCREEN WE HEAR the sounds of Gina coming home:", "Jean leaving past stupified Maitre'd.\n\n\nEXT. GINA'S APARTMENT - DAY", "Jean jumps up and locks himself in the bathroom. Gina goes to the\ndoor, unlocks the chain, and looks out." ], [ "There's not enough room. Rene accidentally gets pushed out of\nframe.", "RENE (CONT'D)\n (to himself)\n Who did this?\n (beat - louder)\n Who did this?", "RENE\n I gotta go pee.\n\nRene weaves across the room. Suddenly, he stops cold. He's\nstaring at Jean's painting. He doesn't move.", "RENE (CONT'D)\n (loudly)\n You're asking me? Nigga, please. After the", "Without hearing him, Jean walks towards the painting and with a\nswipe, paints out what Rene is pointing to.", "Rene starts reading from a poem he's evidently written:", "RENE\n (hissing)\n You fucking little whore! You sold my\n painting! I'm gonna tell you something,", "RENE\n Isn't he great? Thanks, Jean.\n\nHe rips the page from the book.\n\n RENE (CONT'D)\n He owes me one.", "We watch as Rene looks frantically for Jean, but can't spot him.\nFinally he sees Jean's hair-do bobbing up and down a block away.\nHe runs towards it.", "Walking by, Rene responds to this -\n\n RENE\n His early work? He's only twenty-six!\n\nRene walks over to Jean.", "He looks around the room again as if looking for Jean.\n\n ARTIST #3\n Whoa - check it out. It's him!\n\nRene grabs binoculars.", "RENE\n Hey, wait up!!!\n\nHuffing and puffing, he catches up.", "He offers it to Rene, who refuses. He lights and hands Rene the\njoint. Rene takes a hit. Jean takes it back.\n\nJean starts to work again.", "Albert and Rene begin to ascend the stairs. Jean continues\npainting. The dog leaves with Rene and Albert.", "GINA AND JEAN\n\nLeave the restaurant.\n\nBehind them, we see Rene, absorbed in his writing.\n\n\nEXT. AVE. A - DAY", "Jean continues painting. Rene slumps down onto the floor, happy -\na parasite content to have a host, impressed with Jean's\nlimitless energy. Rene closes his eyes.\n\nBLACK", "RENE\n How about now?\n\nRene shrugs to Jean. He prepares to leave.\n\n ALBERT MILO\n See you at your opening. Thanks.", "Rene heads back out into the party.\n\nJean eats gumbo while Christine thumbs through the Times\nMagazine.\n\n\nANGLE ON", "RENE\n (to himself)\n It's fucking amazing. Motherfucker's got to\n put a crown on it.", "The waiters grab Rene's arms." ], [ "All at the ripe old age of 24. One might\n ask: is there anything left for Jean Michel\n Basquiat to do?", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n I guess it was a long time ago.\n\n BENNY\n Come on, let's get out of here.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BASQUIAT (CONT'D)\n 'Even though you were never mine\n And you never will be\n You have a piece of my heart", "BASQUIAT\n Manzanita....\n (translating song)\n ... if one day I die, and you read this", "KID #2\n What's he saying?\n\n BASQUIAT\n I'm SAMO... I'm SAMO...", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "BASQUIAT\n When I was poor, everybody doubted I could\n make it. When I got rich, everyone said,", "BASQUIAT\n That girl looks just like my old girlfriend\n Gina.\n\n ANDY WARHOL\n Do you still love her?", "BASQUIAT\n (to Milo)\n My name is Jean Michel Basquiat. Have you\n heard of me?" ], [ "BASQUIAT (CONT'D)\n Hawaii? Fuck Hawaii. Let's go to Ireland.\n We'll stop in every bar and have a drink.\n\n\nFREEZE FRAME ON HIS FACE", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n You want a drink?\n\nHe produces a pint bottle in a paper sack.", "BASQUIAT\n Let's leave this town and go someplace.\n\n Some island.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT\n I wish they'd quit writing this shit about\n me.\n\n ANDY WARHOL\n That's good. At least they're interested.", "BASQUIAT\n I'm not here to visit... I wanna take her\n home.\n\nThe guard gently ushers Jean out through the door.", "BASQUIAT\n Where? Do you ask Miles where he got that\n note from? Where do you take your words\n from?\n (beat)\n Everywhere.", "Jean quits painting.\n\n BASQUIAT\n After the show we should take a nice long\n vacation. Maybe go to Hawaii. That's what", "George reappears.\n\n GEORGE\n Would you like to see the wine list?\n\n BASQUIAT\n Chateau Latour '64, please.", "Jean wants out. He feels compromised.\n\n BASQUIAT (CONT'D)\n Do you think I could borrow your limousine?\n I'll get it back to you in an hour.", "ANNINA NOSEI\n I'd love to see some more of your work...\n Where's your studio?\n\n BASQUIAT\n You name it, I paint there.", "BASQUIAT\n (smiling mischievously)\n Leeches. A long list of leeches.\n (looking at some frames\n Shenge's working on)\n It looks good like that.", "BASQUIAT\n You want some?\n\nHe offers her the joint.\n\n\nEXT. ST. MARK'S PLACE - NIGHT", "BASQUIAT\n (about to sob)\n Life doesn't... make... sense. This city's\n k-killing me. I want my liquid hijack\n Marlboros!", "BASQUIAT\n I'm clean. Smell me. I always smell good. I\n don't know why, I just do!\n\nHe leans forward, offering his neck.", "BASQUIAT\n When I was poor, everybody doubted I could\n make it. When I got rich, everyone said," ], [ "Jean walks up to Andy Warhol.\n\n BASQUIAT\n Andy, man, thanks for coming. I'd like to\n paint your jacket.", "ANDY WARHOL (CONT'D)\n Jean Michel, this is Mary Boone. She's got\n the great new gallery.\n\n BASQUIAT\n Yeah, I met her already.", "BASQUIAT (CONT'D)\n Andy Warhol. He's famous and he's not\n boring.", "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "Andy paints an Amoco logo next to the penguin.\n\n BASQUIAT\n I don't even have any friends anymore\n besides you. And everyone says \"Warhol?", "BASQUIAT\n Ouch..\n\n ANDY WARHOL\n What's wrong?", "BASQUIAT\n I wish they'd quit writing this shit about\n me.\n\n ANDY WARHOL\n That's good. At least they're interested.", "BASQUIAT\n People are only interested in you because\n you're famous, not because they know a\n fuckin' thing about your work.\n\nJean paints out part of Andy's logo.", "BASQUIAT\n How come you're not peeing on them\n yourself?\n\n ANDY WARHOL\n I don't like beer.\n\nLooking down at the painting -", "BASQUIAT\n Yeah... Like - stupid, ridiculous, crummy\n art.\n\n ANDY WARHOL\n Ohhh. That's new. That sounds good.", "BASQUIAT\n That girl looks just like my old girlfriend\n Gina.\n\n ANDY WARHOL\n Do you still love her?", "BASQUIAT\n Ten bucks apiece.\n\n ANDY WARHOL\n I can give you five. You didn't do very\n much to these.", "ANDY WARHOL\n That was my favorite part!\n\n BASQUIAT\n We can do better. It needed more white.", "ANDY WARHOL\n That would be a pity because you're a real\n painter.\n\nFrank arrives.\n\n FRANK\n Here's the poster for the show.", "BASQUIAT\n Yeah. I really blew it. I still think about\n her.\n\n ANDY WARHOL\n Well, have you asked her to come back?", "Jean points to Andy's ankles - they have plastic flea collars on\nthem.\n\n BASQUIAT\n Cool.", "ANDY WARHOL\n Wow... That was a nice drawing, too, Jean.\n Maybe you should do another one.\n\n MR. CHOW\n (exhausted)\n Some other time.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "Andy steps back and squints as he examines Jean's work.\n\n ANDY WARHOL (CONT'D)\n Yeah, I see what you mean about the white.\n It's better." ], [ "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "He runs after the ball, gets it, and dribbles clumsily.\n\n BENNY\n You're shattering all my myths.\n\n BASQUIAT\n About what?", "BASQUIAT\n How come you're not peeing on them\n yourself?\n\n ANDY WARHOL\n I don't like beer.\n\nLooking down at the painting -", "BASQUIAT\n I'll make you another one.\n\n RENE\n Forget it.\n\nHe pulls out a scrap of paper and starts writing.", "Jean buzzes the doorbell. He's wearing the clogs. He's hurting.\nThe intercom comes on.\n\n BASQUIAT\n Hello? Gina?", "Andy paints back in part of the horse.\n\n BASQUIAT\n That's better.\n\nJean adds some letters on top of Andy's logo.", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "SHENGE\n - In this corner?\n\n BASQUIAT\n (not looking)\n Yeah..\n\nShenge changes the brush and dips it in the can.", "BASQUIAT\n (smiling mischievously)\n Leeches. A long list of leeches.\n (looking at some frames\n Shenge's working on)\n It looks good like that.", "Jean points to Andy's ankles - they have plastic flea collars on\nthem.\n\n BASQUIAT\n Cool.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "BASQUIAT\n You want a drink?\n\nHe produces a pint bottle in a paper sack.", "ALBERT MILO\n (amused)\n No. Should I have?\n\n BASQUIAT\n I'm a painter, too.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT\n If you ever want me to shit on 'em, just\n ask. You could finger paint.\n\n\nINT. THE FACTORY - LATER", "BASQUIAT\n Yeah... I'll paint on it.\n\n\nINT. PARTY - NIGHT", "INTERVIEWER\n Yes. What do they... stand for?\n\n BASQUIAT\n They're just words.", "BASQUIAT\n I'm clean. Smell me. I always smell good. I\n don't know why, I just do!\n\nHe leans forward, offering his neck." ], [ "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "TOM KRUGER\n Beg pardon?\n\nGina hadn't expected to find herself in the middle of this scene.\n\n BASQUIAT\n Hi. This is Gina.", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "BASQUIAT\n I had lunch with him once.\n\n\nINT. GINA'S APARTMENT (BEDROOM) - NIGHT\n\nJean and Gina lay in bed.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "Gina smiles. She offers him one. As she holds it out, their eyes\nlock. She tries to resist his smile.\n\n BASQUIAT\n (gently)\n Gina?", "GINA\n (smelling)\n You do! You definitely do.\n\n BASQUIAT\n Just come to the Mudd Club on Friday.", "BASQUIAT\n Gina, don't you want any of this? You could\n use some.\n\nGina doesn't respond. She comes out of the bedroom with a small\nsuitcase.", "GINA\n I don't go there. Too many party girls.\n\n BASQUIAT\n Party girls? Can I call you?", "GINA\n Guess I just got sick of him.\n\n BASQUIAT\n Can I walk you home?\n\n GINA\n I think I could do that alone.", "BASQUIAT\n How is he?\n\n GINA\n Pretty much the same.\n\nJean's eyebrows go up.", "GINA\n I really think you should talk to him about\n this.\n\nJean pops out of the bathroom.\n\n BASQUIAT\n When?", "GINA\n Don't you think he's using you?\n\n BASQUIAT\n Why does everybody say that? He's the only\n person I know who doesn't need to use me.", "BASQUIAT\n Wait, I'm in a band....We're at the Mudd\n Club on Halloween. I'll put you on the\n list.\n\nGina turns and looks back at Jean.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "BASQUIAT\n You're back.\n\n GINA\n It's Monday morning.", "BASQUIAT\n I am... On Gina.\n (beat)\n Fuck - I didn't think we were actually\n gonna do this.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "BASQUIAT\n Do you know what he's saying?\n\n GINA\n What who's saying?" ], [ "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "Gina smiles. She offers him one. As she holds it out, their eyes\nlock. She tries to resist his smile.\n\n BASQUIAT\n (gently)\n Gina?", "GINA\n (smelling)\n You do! You definitely do.\n\n BASQUIAT\n Just come to the Mudd Club on Friday.", "BASQUIAT\n Gina, don't you want any of this? You could\n use some.\n\nGina doesn't respond. She comes out of the bedroom with a small\nsuitcase.", "GINA\n I really think you should talk to him about\n this.\n\nJean pops out of the bathroom.\n\n BASQUIAT\n When?", "BASQUIAT\n I had lunch with him once.\n\n\nINT. GINA'S APARTMENT (BEDROOM) - NIGHT\n\nJean and Gina lay in bed.", "TOM KRUGER\n Beg pardon?\n\nGina hadn't expected to find herself in the middle of this scene.\n\n BASQUIAT\n Hi. This is Gina.", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "GINA\n Guess I just got sick of him.\n\n BASQUIAT\n Can I walk you home?\n\n GINA\n I think I could do that alone.", "BASQUIAT\n Wait, I'm in a band....We're at the Mudd\n Club on Halloween. I'll put you on the\n list.\n\nGina turns and looks back at Jean.", "GINA\n I don't go there. Too many party girls.\n\n BASQUIAT\n Party girls? Can I call you?", "BASQUIAT\n Do you know what he's saying?\n\n GINA\n What who's saying?", "BASQUIAT\n How is he?\n\n GINA\n Pretty much the same.\n\nJean's eyebrows go up.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "BASQUIAT\n I am... On Gina.\n (beat)\n Fuck - I didn't think we were actually\n gonna do this.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "BASQUIAT\n You're back.\n\n GINA\n It's Monday morning.", "GINA\n Don't you think he's using you?\n\n BASQUIAT\n Why does everybody say that? He's the only\n person I know who doesn't need to use me." ], [ "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "Jean walks up to Andy Warhol.\n\n BASQUIAT\n Andy, man, thanks for coming. I'd like to\n paint your jacket.", "ANDY WARHOL (CONT'D)\n Jean Michel, this is Mary Boone. She's got\n the great new gallery.\n\n BASQUIAT\n Yeah, I met her already.", "BASQUIAT\n Yeah. I really blew it. I still think about\n her.\n\n ANDY WARHOL\n Well, have you asked her to come back?", "Andy paints back in part of the horse.\n\n BASQUIAT\n That's better.\n\nJean adds some letters on top of Andy's logo.", "BASQUIAT\n I'll take it.\n (wipes nose with sleeve.)\n Andy, gimme three thousand dollars.\n (beat)\n Just the caviar - I'll get the rest.", "ANDY WARHOL\n I'm going to send them to my friends for\n Christmas presents.\n\n BASQUIAT\n You think those are good presents? Who\n wants an old wig?", "Andy paints an Amoco logo next to the penguin.\n\n BASQUIAT\n I don't even have any friends anymore\n besides you. And everyone says \"Warhol?", "BASQUIAT\n Ten bucks apiece.\n\n ANDY WARHOL\n I can give you five. You didn't do very\n much to these.", "BASQUIAT\n How come you're not peeing on them\n yourself?\n\n ANDY WARHOL\n I don't like beer.\n\nLooking down at the painting -", "BASQUIAT\n People are only interested in you because\n you're famous, not because they know a\n fuckin' thing about your work.\n\nJean paints out part of Andy's logo.", "BASQUIAT\n I wish they'd quit writing this shit about\n me.\n\n ANDY WARHOL\n That's good. At least they're interested.", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "BASQUIAT\n That girl looks just like my old girlfriend\n Gina.\n\n ANDY WARHOL\n Do you still love her?", "BASQUIAT\n Not now, ok?\n\nBenny is left standing next to Andy holding the bottle.", "Shenge picks up the phone, which has been RINGING for some time.\n\n SHENGE\n It's Andy again.\n\n BASQUIAT\n Still not here.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "ANDY WARHOL\n That was my favorite part!\n\n BASQUIAT\n We can do better. It needed more white.", "BASQUIAT\n Ouch..\n\n ANDY WARHOL\n What's wrong?", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting." ], [ "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "BASQUIAT\n Yo, Frank.\n\n FRANK\n This is really great. What a nice place.\n\nJean is taken with Christine.", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "BASQUIAT\n You want some?\n\nHe offers her the joint.\n\n\nEXT. ST. MARK'S PLACE - NIGHT", "Gina and Jean look amused as they watch her leave.\n\n BASQUIAT\n Wanna go get some breakfast?", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "BASQUIAT\n Let's get out of here.\n\nHe leads her towards the exit. They step out of the club.\n\n\nEXT. MUDD CLUB - NIGHT", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "STELLA\n Some of them.\n\n BASQUIAT\n Stand still.\n\nHe draws her.", "Nearby, Benny sees this meeting and walks off, disgusted,\nthinking this is why Jean gave him the brush off.\n\n BASQUIAT\n That's alright. I'm cool now.", "BASQUIAT\n Sure.\n\nAnnina leaves.", "The driver can't help staring in the rearview mirror.\n\n DRIVER\n I really... admire you.\n\n BASQUIAT\n Me? Why?", "BASQUIAT\n Willie Mays... Nice to see you.\n\nBenny looks at Jean's eyes.\n\nJean stretches, kicking life back into his limbs.", "A BRUNETTE walks up -\n\n BASQUIAT\n Name?\n\n BLONDE\n Monica.\n\n BASQUIAT\n Number?", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down." ], [ "We watch as Rene looks frantically for Jean, but can't spot him.\nFinally he sees Jean's hair-do bobbing up and down a block away.\nHe runs towards it.", "RENE (CONT'D)\n (to himself)\n Who did this?\n (beat - louder)\n Who did this?", "Rene looks to him and back at the painting. He takes one last\nlook.\n\nHe stumbles towards the window and grabs the binoculars from\nArtist #1..", "He offers it to Rene, who refuses. He lights and hands Rene the\njoint. Rene takes a hit. Jean takes it back.\n\nJean starts to work again.", "Jean continues painting. Rene slumps down onto the floor, happy -\na parasite content to have a host, impressed with Jean's\nlimitless energy. Rene closes his eyes.\n\nBLACK", "RENE\n Isn't he great? Thanks, Jean.\n\nHe rips the page from the book.\n\n RENE (CONT'D)\n He owes me one.", "RENE\n (hissing)\n You fucking little whore! You sold my\n painting! I'm gonna tell you something,", "RENE (CONT'D)\n (loudly)\n You're asking me? Nigga, please. After the", "Rene starts reading from a poem he's evidently written:", "RENE\n I gotta go pee.\n\nRene weaves across the room. Suddenly, he stops cold. He's\nstaring at Jean's painting. He doesn't move.", "RENE (CONT'D)\n I consider myself a metaphor of the public.\n I am a public eye. I am a witness.\n\nA HEAD appears from the box. It's Jean's.", "He looks around the room again as if looking for Jean.\n\n ARTIST #3\n Whoa - check it out. It's him!\n\nRene grabs binoculars.", "RENE\n How about now?\n\nRene shrugs to Jean. He prepares to leave.\n\n ALBERT MILO\n See you at your opening. Thanks.", "Benny is now alone on the couch. He nods out.\n\n RENE\n (noticing him)\n Oh my, there goes the neighborhood. Who's\n house is this, anyway?", "Rene crosses to Albert and Andy.\n\nPeople pass by.\n\nJean starts to walk.\n\nAbout half a block away, he sprays on a wall:", "RENE\n (to himself)\n It's fucking amazing. Motherfucker's got to\n put a crown on it.", "RENE (CONT'D, O.S.)\n Part of the artist's job is to get the work\n where I will see it.\n\n\nEXT. LOWER EAST SIDE ST. - DAY", "Without hearing him, Jean walks towards the painting and with a\nswipe, paints out what Rene is pointing to.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "Rene watches in awe. Jean, moving a bit slowly, `signs' his tag\nwith the copyright sign. He walks off.\n\n RENE\n MOTHAFUCKAH!" ], [ "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT\n I'll make you another one.\n\n RENE\n Forget it.\n\nHe pulls out a scrap of paper and starts writing.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "The beam of light shines through a small hole. It falls upon a\nsleeping, dreaming, delighted face. It belongs to JEAN MICHEL\nBASQUIAT.", "BASQUIAT\n Do you know what he's saying?\n\n GINA\n What who's saying?", "BASQUIAT\n (recognizing his work)\n That's mine.\n\n KID\n That ain't yours, man. Some asshole named\n SAMO did this.", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BENNY\n Your people.\n\n BASQUIAT\n Oh - you mean black people!", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "BASQUIAT (CONT'D)\n See you later.\n\n STELLA\n Thanks\n\nHe walks to the door, leaving the drawing on the floor.", "Shenge shrugs and starts to spread the blue. Jean looks at his\nwork.\n\n BASQUIAT (CONT'D)\n Don't try to make art. Just paint like a\n housepainter.", "BASQUIAT\n (re: the paintings)\n What do you think?\n\n ALBERT MILO", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "Andy paints back in part of the horse.\n\n BASQUIAT\n That's better.\n\nJean adds some letters on top of Andy's logo.", "BASQUIAT\n You want a drink?\n\nHe produces a pint bottle in a paper sack." ], [ "Jean sees the surfer, 'riding the nose' in glistening, shimmering\n\nsunlight.\n\n DISSOLVE TO:", "Jean, walks around, drifting, stoned. He looks up at the skyline.\n\n DISSOLVE TO:\n\n\nWaves crash silently over a surfer.", "Jean signs his words with his 'logo', a triple pointed crown.\n\nAs he presses the spray can, we HEAR the roar of a breaker.\n\n CUT TO:", "We see a surfer emerging from a HUGE WAVE. He looks powerful and\nexalted.\n\n CUT TO:\n\n\nEXT. BASKETBALL COURT - DAY", "and bad in life. He eases himself out of the oversize box in\nwhich he has spent the night. There's something about the way\nthat he stands while waking up that suggests he's almost", "KID #1\n He wish.\n\n DISSOLVE TO:\n\n\nTHE SEA\n\nIt is flat, dead, gray.", "Working feverishly, he writes \"HEY, HEY, HEY\" in big clusters,\nthen writes other words: SHARK, IMMORTALITY, JOHN THE REVELATOR,", "Jean notices Benny across the room. He slows down and waves.\n\nJean sees Gina across the room wearing the scarf.\n\nJust beyond her, he sees Big Pink approaching.", "Rene lunges towards the window. The stereo BLARES (Curtis Blow's\n\"Survival\")", "Shenge covers a triptych with wide brush strokes of yellow paint.\nHe circles a large, primitive figure of a black man drawn with\nmagic marker in the center. He is careful to leave the figure\nintact.", "Something's happening: she looks with wonder at the top of his\nhead... his eyes roll upward, trying to see - it's a crown!\n\nHe raises his hands. He touches it.", "Jean watches a video tape with the sound MUTED. The screen fills\nwith Andy's face. We SEE a series of quick scenes from his life.\n\nJean and the remaining duck are lit by the TV.", "As she speaks, Jean squirms. He grabs a banana from a fruit bowl.\nWithout peeling it, he takes a big bite. And another. And\nanother. Everyone looks uncomfortable. Annina starts showing them\nthe paintings.", "He and Benny sit down across the room and split a bag onto the\nwindow, as before. This time, it's good. They lean back into it,\nslumping down into the couch.", "A small, crowned prince (the boy seen in the dream in intro.)\nlooks longingly out the window at rolling green hills. Terraced", "Every so often, he refers to a book of DaVinci drawings. Torn\npages litter the floor beneath the book.\n\nWe hear someone THUMPING down the stairs.", "Still staring at her, he sits down at a table. He pours maple\nsyrup onto the table. He draws in the syrup with his fingers.\n\n\nCLOSE ON SYRUP ON TABLE", "Jean and Benny zoom along in a battered old Army Jeep. Now\nrevived, Jean stands up, waving at people miming General Patton.\nWe HEAR the music of \"Summer of Siam.\"", "Jean turns on the TV. He notices the roach. He picks up the paper\nBenny gave him with the message from his father and sets it on\nfire.\n\nHe lights the roach with it.", "As he speaks, we see Jean pass the wall of a funeral parlor. He\nspraypaints: \"SAMO AS AN ALTERNATIVE TO GOD\"" ], [ "All at the ripe old age of 24. One might\n ask: is there anything left for Jean Michel\n Basquiat to do?", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n I guess it was a long time ago.\n\n BENNY\n Come on, let's get out of here.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BASQUIAT (CONT'D)\n 'Even though you were never mine\n And you never will be\n You have a piece of my heart", "BASQUIAT\n Manzanita....\n (translating song)\n ... if one day I die, and you read this", "KID #2\n What's he saying?\n\n BASQUIAT\n I'm SAMO... I'm SAMO...", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "BASQUIAT\n When I was poor, everybody doubted I could\n make it. When I got rich, everyone said,", "BASQUIAT\n That girl looks just like my old girlfriend\n Gina.\n\n ANDY WARHOL\n Do you still love her?", "BASQUIAT\n (to Milo)\n My name is Jean Michel Basquiat. Have you\n heard of me?" ], [ "BASQUIAT\n (re: the paintings)\n What do you think?\n\n ALBERT MILO", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "INTERVIEWER\n Yes. What do they... stand for?\n\n BASQUIAT\n They're just words.", "BASQUIAT\n (recognizing his work)\n That's mine.\n\n KID\n That ain't yours, man. Some asshole named\n SAMO did this.", "BASQUIAT\n (smiling mischievously)\n Leeches. A long list of leeches.\n (looking at some frames\n Shenge's working on)\n It looks good like that.", "BASQUIAT (CONT'D)\n 'Even though you were never mine\n And you never will be\n You have a piece of my heart", "BASQUIAT\n I wish they'd quit writing this shit about\n me.\n\n ANDY WARHOL\n That's good. At least they're interested.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "BENNY\n Your people.\n\n BASQUIAT\n Oh - you mean black people!", "BASQUIAT\n I use a lot of colors - not only black.\n\n INTERVIEWER\n What?\n\n BASQUIAT\n I'm not black.", "BASQUIAT\n Oh, that's a \"Leonardo's Greatest Hits\"\n painting. You like it?\n\n INTERVIEWER\n Yes, but as a black painter -", "BASQUIAT\n \"She loves me.\n Oh yeah she loves me!\n She loooooooves me,\n Oh yeah she loves me!\"\n Bring me some chicken, baby!", "INTERVIEWER\n Hmmm. And 'Parasites.'\n (beat)\n You seem to be a Primal Expressionist.\n\n BASQUIAT\n You mean like an ape?", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT (CONT'D)\n Andy Warhol. He's famous and he's not\n boring.", "BASQUIAT\n Do you know what he's saying?\n\n GINA\n What who's saying?", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "ALBERT MILO\n (amused)\n No. Should I have?\n\n BASQUIAT\n I'm a painter, too.", "BASQUIAT (O.S.)\n There was this little prince with a magic\n crown. An evil warlock kidnapped him,", "BASQUIAT\n That girl looks just like my old girlfriend\n Gina.\n\n ANDY WARHOL\n Do you still love her?" ], [ "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "Jean quits painting.\n\n BASQUIAT\n After the show we should take a nice long\n vacation. Maybe go to Hawaii. That's what", "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "BASQUIAT (CONT'D)\n 'Even though you were never mine\n And you never will be\n You have a piece of my heart", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "ALBERT MILO (CONT'D)\n Is this finished yet?\n\n BASQUIAT\n I don't know.", "BASQUIAT\n C'mon, baby, I painted them for you.\n They're beautiful now.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "BASQUIAT\n Do you ever get sick of it?\n\n ALBERT MILO\n Of what?\n\n BASQUIAT\n The whole thing - painting.", "BASQUIAT\n Haitian. I'm going to kill myself. I'm\n taking pills. Reds, blues, greens.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT (CONT'D)\n See you later.\n\n STELLA\n Thanks\n\nHe walks to the door, leaving the drawing on the floor.", "BASQUIAT\n \"She loves me.\n Oh yeah she loves me!\n She loooooooves me,\n Oh yeah she loves me!\"\n Bring me some chicken, baby!", "The beam of light shines through a small hole. It falls upon a\nsleeping, dreaming, delighted face. It belongs to JEAN MICHEL\nBASQUIAT." ], [ "A beam of light illuminates the crown, casting its glow on his\nmother's face.\n\nThe beam gets whiter, the rest of the screen gets black.\n\n\nINT. CARDBOARD BOX", "The boy looks up, confused and frightened, concerned to see his\nmother crying in public. She looks at him tenderly.\n\nHer brow furrows. She stops crying. She stares just above his\neyes.", "A well-dressed black BOY and his MOTHER walk through several\ngalleries.\n\nThey stand before Picasso's \"Guernica,\" holding hands.\n\nThe mother is disturbed. Crying.", "The landlady looks at him like he's crazy. She balls up the\ndrawing and puts it in her pocket.\n\nGina arrives in the doorway, wearing a robe. The landlady's\ntrapped between them.", "A small, crowned prince (the boy seen in the dream in intro.)\nlooks longingly out the window at rolling green hills. Terraced", "Jean looks at Milo. Milo looks back at him.\n\nJean walks past the tools and continues toward the door. He walks\nout without turning around.\n\nMilo smiles to himself.", "Something's happening: she looks with wonder at the top of his\nhead... his eyes roll upward, trying to see - it's a crown!\n\nHe raises his hands. He touches it.", "Albert opens the door to the stairwell looking for Jean.\n\nHe hears the sound of URINATING.\n\nHe leans over the stairwell.", "pillow in her lap. It's his mother, MATILDE. She doesn't see him\ncoming.", "CAMERA PULLS BACK to reveal a crowd in a gallery. It is literally\nfilled with people. Again - all this takes place in silence.", "His mother brightens. She drinks the milk. They finish the\ncookies.\n\n MATILDE\n Do you like it here?", "Silence. She picks up the mail from under the door and walks into\nthe room. There's a lump on the floor. It's Jean.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "It stops in front of the gallery. From outside, we see Annina\nconversing on the phone. She looks up and opens the door for him.\n\n\nINT. STAIRWELL - BLACK.", "Off screen we HEAR Jean walking down the stairs.\n\n ANNINA NOSEI\n I've got to find the switch.", "A cockroach crawls from Gina's bedroom across the floor and into\nthe kitchen where Jean sits naked on the floor, working on a\ndrawing. It crawls over his drawing towards a cardboard box.", "She shakes him harder. His body is totally limp.\n\nThe whites of his eyes are red; his pupils slowly float up,\nvanishing.", "Jean looks around him. He's in a large, empty cement-floored room\nlit by fluorescent lights.\n\n\nINT. BASEMENT, ANNINA'S - (LATER) - DAY", "Finally, he can't stand it. Rain forces his blinking eyes open.\n\n\nINT. BENNY'S APARTMENT - NIGHT\n\nA door opens to reveal Jean's wet face.", "He sees Jean Michel, taking a piss on the landing.\n\nHe shuts the door quietly.\n\n\nEXT. GIFT SHOP WINDOW - DAY" ], [ "BASQUIAT\n Yeah.\n\nHe looks up at them, eating the banana.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n I'm clean. Smell me. I always smell good. I\n don't know why, I just do!\n\nHe leans forward, offering his neck.", "BASQUIAT\n How is he?\n\n GINA\n Pretty much the same.\n\nJean's eyebrows go up.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT\n (growing weary)\n Yup.", "BASQUIAT\n Yeah.\n\n GEORGE\n Very well.", "Jean arrives behind them.\n\n BASQUIAT\n What's up?\n\n KID #1\n Mind your own fuckin' business.", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "BASQUIAT\n (mortified)\n 'Uppity?' Like as in 'uppity nigger?'\n\nHe snaps his finger for the joint back.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "Gina wakes up. She reaches for one of the painted shirts.\n\n GINA\n (in disbelief)\n Basquiat, those are my best clothes!!! What\n are you doing?", "There seems to be a buzz about Jean already. People gather around\nhis paintings.\n\nGina arrives. She looks great.\n\n BASQUIAT\n You look fucking beautiful, beautiful.", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "The driver can't help staring in the rearview mirror.\n\n DRIVER\n I really... admire you.\n\n BASQUIAT\n Me? Why?" ], [ "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "BASQUIAT\n I'll be right back.\n\nHe produces a key and lets himself in.\n\nHe enters the building.", "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "BASQUIAT\n I had lunch with him once.\n\n\nINT. GINA'S APARTMENT (BEDROOM) - NIGHT\n\nJean and Gina lay in bed.", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n (growing weary)\n Yup.", "BASQUIAT\n (at the window)\n Come on in!\n\n CUT TO:", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT\n Sure.\n\nAnnina leaves.", "BASQUIAT\n How is he?\n\n GINA\n Pretty much the same.\n\nJean's eyebrows go up.", "Nearby, Benny sees this meeting and walks off, disgusted,\nthinking this is why Jean gave him the brush off.\n\n BASQUIAT\n That's alright. I'm cool now.", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "Jean arrives behind them.\n\n BASQUIAT\n What's up?\n\n KID #1\n Mind your own fuckin' business.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine." ], [ "He and Benny sit down across the room and split a bag onto the\nwindow, as before. This time, it's good. They lean back into it,\nslumping down into the couch.", "CUT TO:\n\n\nINT. LESHKO'S RESTAURANT - DAY", "At the large table, everyone watches as Milo makes a portrait of\nFrancesco in a beautiful leatherbound book. It belongs to Mr.\nChow, who is nearby at the bar.", "Jean enters the restaurant.\n\n\nINT. BALLATO'S - DAY", "INT. CAB - NIGHT\n\nThey scurry into the backseat.\n\nThe cab pulls off.\n\n\nEXT. CHINESE RESTAURANT - NIGHT", "In the dining room on the lower level sit Annina and Rene.\nNearby, at another, smaller table, are seated DAVID MCDERMOTT and\nPETER MCGOUGH, two artists dressed in Victorian attire.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "George leads them to their table. As they take their seats, Jean\nnotices the suppressed giggles coming from the executives' table.\nThey try to ignore it. George disappears.", "The restaurant staff and OTHER DINNER GUESTS watch, agape.\n\n\nCLOSE UP - DAVID'S SHOES.", "Jean enters. Andy and Bruno spot him. The Maitre'd becomes\nalarmed. but it's too late - he's at their table.", "Jean scrounges in his pockets, pulls out his Xerox cards, and\nreadies himself as Bruno and Andy enter BALLATO'S RESTAURANT.", "IN FRONT OF THE RESTAURANT", "INT. MR. CHOW'S RESTAURANT - NIGHT", "Annina beckons him.\n\nRene looks away from him and talks to a WAITER. Jean waves to\n\nAnnina and continues towards Bruno's table.", "He approaches a sad, nice-looking, middle-aged black woman - the\nsame one from the dream, earlier. She sits alone fondling a", "The crowd realizes Jean's amongst them. People start approaching\nhim. Someone removes the headphones.\n\nThe DIN of the crowd replaces the music. Amongst the normal crowd\nchatter, we hear friends' calling out:", "An elegant Chinese restaurant on the Upper East Side. The dining\nroom is split level with a mezzanine reserved for celebrities and\nspecial friends of the owner.\n\nAt the podium, the MAITRE'D approaches.", "Jean takes it. Mr. Chow watches his book change hands.", "Jean takes a bowl of moo-shoo pork in front of him and dumps it\nonto the book. Then he uses a piece of pork to draw a head.", "you about getting off drugs. He's painted\n my picture, we've eaten dinner in God knows\n how many places together. But he doesn't" ], [ "GINA\n What's a job, anyway?\n (pause)\n What's wrong with you?", "INT. GINA'S APARTMENT - NEXT MORNING", "They start to laugh.\n\n\nINT. GINA'S APARTMENT - LATER", "GINA\n A friend of mine offered me a job doing a\n little work installing a show in a gallery.\n He's an electrician. I was supposed to be\n there an hour ago.", "He HITS his head against the door harder and harder.\n\n FADE TO WHITE\n\n\nINT. GINA'S APARTMENT - MORNING", "SUPER: \"A YEAR AND A HALF LATER EAST 9TH ST.\"\n\n FADE UP:\n\n\nINT. GINA'S APARTMENT - DAY", "GINA\n\n You don't have any fucking money..\n\nJean lets her cry for a moment, then notices the music playing on\nthe stereo - a Gypsy song sung in Spanish.", "GINA (CONT'D)\n (through the crack)\n Hello? Oh. Come in.\n\nShe opens the door.", "Gina looks up at him.", "GINA\n (to Jean)\n What're you doing?\n\nThe landlady wags her finger at Gina.\n\n LANDLADY\n Next Monday.", "Gina lays in bed. Daylight streams into the apartment.\nJackhammers RATTLE outside. (Music: REGGAE SONG - Errol\nScorcher's \"Cockroach in de Corner.\")", "Bending over a countertop, we see GINA CARDINALE, 22. He fixates\non her.\n\nShe looks up and notices his stare. She continues to work.", "GINA\n I do.\n (beat)\n I just said that. I was never here before.\n I actually like it.\n\nMUSIC segues into PIL's \"Public Image\".", "GINA\n See you later.\n\nShe leaves.\n\nSilence.\n\n GUY #1\n Nice underwear...", "GINA\n Thanks.\n\nShe admires the speaker watches him walk off.\n\n\nEXT. MENTAL HOSPITAL (OUTSIDE THE CITY)", "Gina gives Jean a look. She stands, still wrapped in the drop\ncloth. She lets it fall to the floor. She's wearing only her\nunderwear. She walks to the bedroom. Benny watches her.", "ANNINA NOSEI\n I'm here to see some work.\n\nAnnina starts noticing all the work around her. Gina hands her a\nstack of drawings.", "A parade of them passes, but each time they slow down, they get a\nglimpse of Jean and drive off.\n\nFinally, Gina steps out of the entrance. She raises her hand, and\na car pulls over instantly.", "GINA\n Well thanks!\n\nANNINA NOSEI, a sophisticated, well-groomed woman appears at\nJean's side. She takes in his paintings.", "GINA\n (calling back)\n Be ready in a minute!\n\n CUT TO:\n\n\nTHE DOOR SLAMS" ], [ "BASQUIAT\n I'd like it better in Hawaii.\n\n\nINT. CARDBOARD BOX - NIGHT", "BASQUIAT\n I'll be right back.\n\nHe produces a key and lets himself in.\n\nHe enters the building.", "BASQUIAT (CONT'D)\n See you later.\n\n STELLA\n Thanks\n\nHe walks to the door, leaving the drawing on the floor.", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "The dealer palms something to Jean.\n\n BASQUIAT\n I gotta go.\n\nJean steps away from Rockets, but is trapped in the crowd.\nRockets looks after him with disappointment.", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "Nearby, Benny sees this meeting and walks off, disgusted,\nthinking this is why Jean gave him the brush off.\n\n BASQUIAT\n That's alright. I'm cool now.", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "The beam of light shines through a small hole. It falls upon a\nsleeping, dreaming, delighted face. It belongs to JEAN MICHEL\nBASQUIAT.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "He runs after the ball, gets it, and dribbles clumsily.\n\n BENNY\n You're shattering all my myths.\n\n BASQUIAT\n About what?", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "BASQUIAT\n I had lunch with him once.\n\n\nINT. GINA'S APARTMENT (BEDROOM) - NIGHT\n\nJean and Gina lay in bed.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "BASQUIAT\n Sure.\n\nAnnina leaves." ], [ "Bruno picks up one of the cards.\n\n BASQUIAT\n You wanna buy some ignorant art? Ten bucks.\n\n ANDY WARHOL\n Ignorant art?", "As he sets the plate in front of her, she notices him. She\nrecognizes him and seems pleased, even in her isolation. He\nkisses her on the cheek.\n\n BASQUIAT\n Hey, mom.", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n Mmmm. I don't know. I don't remember.\n\n\nINT. FANCY GOURMET DELI - DAY", "BASQUIAT\n Boom, for real.\n\nWe see him walk offstage into the crowd. They meet.", "He moves towards her. Suddenly, directly in front of him are the\nKrugers.\n\n TOM KRUGER\n We love our painting.\n\n BASQUIAT\n Which painting?", "BASQUIAT\n Ummm. It'll be great. We'll live together\n in peace. What's her name?\n (indicates Gina)\n\nHe looks up at the waitress.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "The dealer palms something to Jean.\n\n BASQUIAT\n I gotta go.\n\nJean steps away from Rockets, but is trapped in the crowd.\nRockets looks after him with disappointment.", "The MAITRE'D smiles at Jean and bows -\n\n MAITRE'D\n Mr. Basquiat - what a pleasure to see you\n again.", "BASQUIAT\n You made a good deal. Here, you can have\n these, too.\n\nHe leaves all the cards and walks toward the door.\n\n\nBRUNO'S POV:", "George reappears.\n\n GEORGE\n Would you like to see the wine list?\n\n BASQUIAT\n Chateau Latour '64, please.", "He offers her a Big Mac.\n\n BIG PINK\n Come on.\n\n BASQUIAT\n Wanna Mac?", "Nearby, Benny sees this meeting and walks off, disgusted,\nthinking this is why Jean gave him the brush off.\n\n BASQUIAT\n That's alright. I'm cool now.", "BASQUIAT\n I'll make you another one.\n\n RENE\n Forget it.\n\nHe pulls out a scrap of paper and starts writing.", "BASQUIAT\n I'll take it.\n (wipes nose with sleeve.)\n Andy, gimme three thousand dollars.\n (beat)\n Just the caviar - I'll get the rest.", "Gina and Jean look amused as they watch her leave.\n\n BASQUIAT\n Wanna go get some breakfast?", "BASQUIAT\n You want some?\n\nHe offers her the joint.\n\n\nEXT. ST. MARK'S PLACE - NIGHT", "BASQUIAT\n Bring him over sometime. I have some other\n stuff to show him.\n\nAnnina watches from the other table as Jean talks to Mary.\n\nFrancesco finishes his drawing." ], [ "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "He finds an old joint and lights it up.\n\n GINA\n Basquiat, don't lie.\n (holds up powder)\n This is smack.", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "BASQUIAT\n I'm clean. Smell me. I always smell good. I\n don't know why, I just do!\n\nHe leans forward, offering his neck.", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BASQUIAT (CONT'D)\n (annoyed)\n You're late.\n\n (to cabby)\n One-fourteen Prince.", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY", "BASQUIAT\n For real?\n\nJean takes a taste with his finger... He tastes his tongue and\nmakes a face..\n\nHe snorts part of his line, anyway, to make sure.", "BASQUIAT\n (mortified)\n 'Uppity?' Like as in 'uppity nigger?'\n\nHe snaps his finger for the joint back.", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "BASQUIAT\n You want a drink?\n\nHe produces a pint bottle in a paper sack.", "He runs after the ball, gets it, and dribbles clumsily.\n\n BENNY\n You're shattering all my myths.\n\n BASQUIAT\n About what?", "BASQUIAT\n (smiling mischievously)\n Leeches. A long list of leeches.\n (looking at some frames\n Shenge's working on)\n It looks good like that.", "BASQUIAT\n How is he?\n\n GINA\n Pretty much the same.\n\nJean's eyebrows go up.", "BASQUIAT\n Think so?\n\nHe pauses.\n\n BASQUIAT (CONT'D)\n ... babies.", "BASQUIAT\n Well.\n (inhaling)\n My dad's here with his wife. My mom\n couldn't make it.\n\nHe offers the joint to Albert's mother.", "BASQUIAT\n I hate this. Turn that off.\n\nJean walks off camera and disappears into his bedroom.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good." ], [ "You've seen the SAMO graffiti everywhere.\n That's his. This is the true voice of the\n gutter.", "Jean shoves his way in front with a magic marker and adds a\ncouple words; now it reads:\n\n\"SAMO IS DEAD\"", "As he speaks, we see Jean pass the wall of a funeral parlor. He\nspraypaints: \"SAMO AS AN ALTERNATIVE TO GOD\"", "BASQUIAT\n (recognizing his work)\n That's mine.\n\n KID\n That ain't yours, man. Some asshole named\n SAMO did this.", "BASQUIAT\n Who am I?\n\n BENNY\n SAMO.\n\n BASQUIAT\n Oh yeah..", "A crowd begins to gather around the work.\n\n HENRY\n Ohh... SAMO. I've heard a lot about you. I\n love your graffiti.", "KID #2\n What's he saying?\n\n BASQUIAT\n I'm SAMO... I'm SAMO...", "SAMO. This is Henry Geldzahler.", "BASQUIAT\n Everybody's paying top dollar for scraps of\n paper, refrigerator doors - anything with a\n SAMO tag on it.", "We see that they're removing one of Jean's SAMO pieces from a\nwall. We read:\n\n\"PAY FOR SOUP\nBUILD A FORT\nSET IT ON FIRE\"", "Jean digs through a pile of garbage. Finally, he finds what he's\nlooking for - a pile of \"SAMO baseball cards\" - color Xeroxes of\nhis favorite images and words. He pockets them.", "KID #3\n (bending close)\n He says he's SAMO.\n\nKid #1 whacks him in the back once more for good measure.", "RAMMELLZEE\n I'm here for an interrogation. You've been\n called a graffiti artist and I wanna know\n why. All I see are scribble scrabble\n abstractions!", "Rene crosses to Albert and Andy.\n\nPeople pass by.\n\nJean starts to walk.\n\nAbout half a block away, he sprays on a wall:", "BASQUIAT\n (to Milo)\n My name is Jean Michel Basquiat. Have you\n heard of me?", "Andy paints back in part of the horse.\n\n BASQUIAT\n That's better.\n\nJean adds some letters on top of Andy's logo.", "INTERVIEWER\n Yes. What do they... stand for?\n\n BASQUIAT\n They're just words.", "CYNTHIA KRUGER\n We've seen the graffiti. I work on Wall\n Street. And I've heard wonderful things\n about the paintings. Everybody's talking\n about you.", "ARTIST #3\n I know who did that. That's Jean Michel's.\n He's right here, man...\n\nHe turns to look for Jean.", "BASQUIAT\n I wish they'd quit writing this shit about\n me.\n\n ANDY WARHOL\n That's good. At least they're interested." ], [ "I didn't see you.\n\n BASQUIAT\n What do you mean?\n\n BRUNO\n You haven't heard? Andy's dead.", "BASQUIAT\n (quietly)\n Fuck...\n (to Rene)\n I forgot about that.\n\nHe sets his brush down.", "BASQUIAT\n See ya in an hour.\n (to Mary)\n So what do you think?\n\n MARY BOONE\n Bruno spoke to me already. We could talk\n about it.", "BASQUIAT\n (continuing)\n Baby, I think about you a lot. I'm really\n sorry about everything. You have to believe", "MARIA\n You remember Ellen?\n (looking around)\n What are you working on?\n\nBasquiat points at the painting.", "Nearby, Benny sees this meeting and walks off, disgusted,\nthinking this is why Jean gave him the brush off.\n\n BASQUIAT\n That's alright. I'm cool now.", "MARIA (CONT'D)\n How are you?\n\n BASQUIAT\n Fine.", "BASQUIAT\n You made a good deal. Here, you can have\n these, too.\n\nHe leaves all the cards and walks toward the door.\n\n\nBRUNO'S POV:", "BASQUIAT\n (touched)\n What time is it?\n\n RENE\n 5:11.", "BASQUIAT\n B.B. It's me - Jean! What's the matter? No\n snow in Switzerland this year?\n\n BRUNO", "FRANK (CONT'D)\n Have you met Christine?\n\n BASQUIAT\n I don't think so.\n\nHe's thrown off his rhythm.", "BASQUIAT\n George?\n\nGeorge hurries over.\n\n GEORGE\n I'm sorry, Mr. Basquiat.", "BASQUIAT (CONT'D)\n How's Gina? You guys getting along?\n\nBenny looks at him guiltily.\n\n BENNY\n She's good.", "BASQUIAT\n (deadpan)\n I-Is this the s-s-suicide h-h-hotline?\n\n VOICE\n Yes. My name is Chris. What's yours?", "BASQUIAT\n I had lunch with him once.\n\n\nINT. GINA'S APARTMENT (BEDROOM) - NIGHT\n\nJean and Gina lay in bed.", "BENNY\n Your people.\n\n BASQUIAT\n Oh - you mean black people!", "GINA\n (furious)\n Oh, God, Basquiat, you scared the shit out\n of me. How the fuck could you do that to\n yourself?", "Bruno picks up one of the cards.\n\n BASQUIAT\n You wanna buy some ignorant art? Ten bucks.\n\n ANDY WARHOL\n Ignorant art?", "BASQUIAT\n You don't even work on your stuff!\n\n BRUNO\n It doesn't matter how much you worked on", "BASQUIAT (CONT'D)\n I have to go to the bathroom.\n\n\nINT. BARBETTA'S (BATHROOM) - DAY" ] ]

[ "Who does Basquiat invite to Mudd Club?", "Which one of Picasso's paintings is seen at the start of the story?", "Who bought two of Basquiat's postcards?", "Why did Gina get upset shortly after she woke up?", "Where was Rene ejected from after getting angry?", "How old was Basquiat when he died?", "Where did Basquiat want to visit so he could stop in every pub?", "Why was Andy Warhol concerned about Basquiat?", "What was Basquiat painting on his clogs?", "Where does Basquiat meet Gina?", "Where does Basquiat ask Gina to meet him?", "What did Basquiat send Andy?", "Who does Basquiat flirt with?", "Where does Rene lose his Block?", "What art does Basquiat create?", "What do the surf scenes represent?", "How old was Basquiat when he died?", "What was an element of interest in Basquiats work?", "What was Basquiat's last painting?", "What do a little boy and his mum see at the end of the corridor?", "Basquiat as a grown-up has what hairstyle?", "Where does grown-up Basquiat live?", "Who does make friends with in a restaurant?", "What is Gina's job?", "Who does Basquiat visit after his cardboard box collapses?", "Who does Basquiat sell two of his postcards to in a restaurant?", "What does Basquiat have as a bad habit?", "Who is the SAMO graffitist?", "Whose death does Bruno tell Basquiat about?" ]

[ [ "Gina the waitress", "Gina" ], [ "Guernica", "Guernica" ], [ "Andy Warhol and Bruno", "Andy Warhol" ], [ "Basquiat had painted her dress", "she saw he had painted her dress and her paintings" ], [ "Mr. Chou's", "Mr Chou's" ], [ "27", "27" ], [ "Ireland", "Ireland" ], [ "because of his drug habit", "because he is destroying himself with drugs and is talking about opening a tequila shop in hawaii" ], [ "TITANIC", "titanic" ], [ "In the Cafe", "A diner" ], [ "The Mudd Club", "Mudd Club" ], [ "A Dreadlock Helmat", "dreadlock helmet" ], [ "\"Big Pink\"", "Big Pink" ], [ "Mr Chou's.", "At Mr. Chou's, after an exhibition." ], [ "Graffiti", "Postcards" ], [ "The times that Basquiat is drugged up.", "transition" ], [ "BAsquiat was 27 years old.", "27" ], [ "A common element was a \"Crown\".", "grafiti" ], [ "They showed his clogs with \"Titanic\" written.", "TITANTIC" ], [ "Picasso's Guernica", "picasso's guernica" ], [ "dreadlocks", "Dreadlocks" ], [ "In a cardboard box in NY", "NY" ], [ "Gina", "Gina" ], [ "a waitress", "Waitress" ], [ "Benny", "Benny" ], [ "Andy Warhol and Bruno who is an art dealer", "andy warhol and bruno" ], [ "He does drugs", "He's a drug addict." ], [ "Basquiat", "An electrician painter" ], [ "Andy's ", "Ady" ] ]

[ [ "The priest lowered his dazzled glance upon the village, whose few\nscattered houses straggled away below the church--wretched hovels they", "Brichet’s wife was the one solitary devotee of the village. Whenever she\nhad been to communion, she would hang about the parsonage, well knowing", "had attempted to go out and read his breviary as he strolled along the\nroad; but he had not gone beyond the village. He had returned home,", "He had been weeping all through the night while he slept. He did not say\nhis mass that day. In spite of his long rest, he had not recovered from\nhis excessive weariness of the previous evening, and he remained in", "about his neck were battening on his vitals now. He yielded to them with\nhideous satisfaction. He shook his fists at the church. No; he believed", "The free air poured in as it listed, emphasising the naked poverty of\nthe God of that forlorn village. At the far end of the church, above", "Sunday was a busy day for Abbe Mouret. He had to think of vespers, which\nhe generally said to empty seats, for even mother Brichet did not carry", "They slowly walked down the hill towards Les Artaud. The priest had\nnot opened his lips; but gradually he raised his head erect: he was no", "At that moment three big girls came into the church. They were too shy\nto go far up, though they jostled one another to get a better view of", "last three months, had kept the Abbe informed of all the affairs of the\nvalley. That Thursday, while waiting till La Teuse should call them,\nthey strolled about in front of the church. The priest, on relating his", "and shouted that the priests had taken his child from him. We had to get\nthe rural policeman to turn him out. As to the little one, she bolted.", "The next day was Sunday. As the Feast of the Exaltation of the Holy\nCross fell on a high mass day, Abbe Mouret desired to celebrate the", "that he was in tears, and thereupon she went behind the altar to watch\nhim. Since his return, she had never liked to leave him in the church", "The empty church was quite white that May morning. The bell-rope near\nthe confessional hung motionless once more. The little bracket light,", "the village, Abbe Mouret would not let his uncle drive him back to the\nvicarage. He jumped down, saying:", "passion. She simply replied that he was in the church hearing the\nchildren say their catechism.", "It was nearly ten o’clock and most of the villagers of Les Artaud had\nretired to rest. But from a brightly lighted house at the far end, near", "At first she could see nobody. Outside, the rain had again begun to fall\nin fine close drops. The church looked very grey and gloomy. She passed", "It was early morning. The sun was not yet shining through the big\nwindows of the church. Outside one could hear the noisy twittering of", "La Teuse dismissed them; while the priest, after crossing himself,\nremained absorbed before the altar, no longer hearing what went on\nbehind him." ], [ "In Serge Mouret, her lover, we find a man who, in more than one respect,", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "But his Lord was no longer there. Then Abbe Mouret, awaking with a\nstart, turned horribly pale. He understood it all. He had not known", "‘Ah! I know,’ Serge interrupted; ‘the lady was never seen again.’", "Abbe Mouret opened his eyes again. The burning apparition of Albine\nvanished. It was sudden and unexpected solace. He was able to weep.", "Serge still wept.\n\nAlbine said nothing more. She flung her arms around him; she pressed her\nwarm lips to his corpse-like face; but tears were still his only answer.", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "him, breathing on his neck to rouse him. But that morning Serge never\neven felt the breath that lifted his silky beard. The sun got low, it", "Serge seemed a little surprised at this speedy termination of their\nsleep. He stretched out his arm and caught hold of Albine, as though to", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "the Paradou--a name which one need hardly say is Provencal for\nParadise*--and there Serge Mouret, on recovering from brain fever,", "She burst into tears as she stood there by his side, feeling that she\ncould not carry him any higher. There was no sign of anger in her\nnow. She was simply weeping over their dying love. Serge lay dazed and\nstupefied.", "‘Serge! Serge!’ Desiree cried, still more loudly, clapping her hands,\n‘the cow has got a calf!’\n\n\n\n THE END", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "Much discomfited, Abbe Mouret left him. As he went down the path he saw\nRosalie rolling about under an olive tree with Voriau, who was licking", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "‘Silence! Silence!’ said Abbe Mouret, summoning all his strength to rise\nand move away.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained" ], [ "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "In Serge Mouret, her lover, we find a man who, in more than one respect,", "Abbe Mouret spent his days at the parsonage. He shunned the long walks\nwhich he had been wont to take before his illness. The scorched soil of", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "Serge made no reply. But as they went home, they took the path which\nAlbine had pointed out, past the chestnuts and under the limes. It was a", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "She laid him down in bed and shut the windows. Next morning, however,\nthey were opened at break of day. Serge could no longer live without the", "‘And it was here she died?’ repeated Serge, who felt touched with\nsorrow. ‘And you have taken her room; you use her furniture, and you\nsleep in her bed.’", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "that deal with the career of Octave Mouret, Abbe Serge Mouret’s elder\nbrother. In ‘The Conquest of Plassans,’ Serge and his half-witted", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "But his Lord was no longer there. Then Abbe Mouret, awaking with a\nstart, turned horribly pale. He understood it all. He had not known", "‘She took great care of you, you know,’ he added, more roughly. ‘Without\nher, my boy, you might now be in one of the cells at Les Tulettes, with", "betook themselves to their lesson in plain-chant with folded arms and\nhanging heads. And thus Serge’s day closed in peacefulness; he returned", "‘Silence! Silence!’ said Abbe Mouret, summoning all his strength to rise\nand move away." ], [ "In Serge Mouret, her lover, we find a man who, in more than one respect,", "which had fallen between them, Serge exclaimed: ‘I love you very much.’", "‘And how I love you!’ said Serge, drawing her to himself.", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "‘Serge, I love you,’ Albine answered.", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "She took hold of his hand and laid it upon her breast. Then Serge turned\nquite pale. He was even more overcome than she. And both had tears in", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "She burst into tears as she stood there by his side, feeling that she\ncould not carry him any higher. There was no sign of anger in her\nnow. She was simply weeping over their dying love. Serge lay dazed and\nstupefied.", "‘Do you love me? Oh! do you love me?’ reiterated Albine.\n\nBut Serge hastily drew away from her as though her bare arms and\nshoulders really scorched him.", "As Serge gradually leant more closely against her, she passed her arm\nround his neck and laid his head upon her lap, while murmuring in yet a", "Serge led her thence, pacing slowly and giving one last glance at the\nspot which love had hallowed. The shadows in the clearing were growing", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge had jumped down from the tree to catch her in his arms. As he\nstood there, quite pale from fright, she laughed at him. ‘One tumbles", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "She was the first to hide. She disappeared, and presently from the\ndepths of the greenery, which she alone knew, and where Serge could not", "For a moment they relapsed into silence whilst soft emotion stole over\nthem. Then Serge, caressing Albine, exclaimed: ‘Your face is mine; your", "Serge’s eyes, especially, were attracted to them as to the very source\nof light, in which he sought to steep himself, as in diluted sunshine", "Moved by the sight Albine was about to let the curtain fall again. But\nSerge faintly murmured, ‘I am not asleep.’", "Serge remained silent, sorely troubled that he could find nothing\nfurther to say to prove to her the force of his love. His eyes wandered" ], [ "‘Serge, I love you,’ Albine answered.", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "‘Do you love me? Oh! do you love me?’ reiterated Albine.\n\nBut Serge hastily drew away from her as though her bare arms and\nshoulders really scorched him.", "XVI\n\nAlbine and Serge smiled at one another.\n\n‘I love you, Albine,’ said Serge.", "Serge seemed a little surprised at this speedy termination of their\nsleep. He stretched out his arm and caught hold of Albine, as though to", "They were disturbed by the sight of them, and as Albine felt Serge’s hot\nbreath on her neck she started and left his side to seat herself on the", "Serge still wept.\n\nAlbine said nothing more. She flung her arms around him; she pressed her\nwarm lips to his corpse-like face; but tears were still his only answer.", "Albine’s head was cast back, her eyes were tightly closed, and she\nscarce drew her breath. Serge’s caressing words enraptured her: ‘Do you", "that was yet faint and cool. Serge inhaled that perfume, and pressed her\nto his breast. Albine laughed.", "night. They did not kiss. But Serge, when he was alone, remained seated\non the edge of his bed, listening to Albine’s every movement in the room", "secret, displaying the innocent shamelessness, the hearty tenderness of\nthe world’s first days. Serge and Albine, however, suffered from these", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "At dawn the next day it was Serge who called Albine. She slept in a room\non the upper floor. He looked up at her window and saw her throw open", "Moved by the sight Albine was about to let the curtain fall again. But\nSerge faintly murmured, ‘I am not asleep.’", "Though to outward seeming Albine had yielded her weaker self to the\nguidance of Serge, to whose shoulder she clung, it was she who really", "Abbe Mouret opened his eyes again. The burning apparition of Albine\nvanished. It was sudden and unexpected solace. He was able to weep.", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "For a moment they relapsed into silence whilst soft emotion stole over\nthem. Then Serge, caressing Albine, exclaimed: ‘Your face is mine; your", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "The Brother remained for a moment silent, clenching his fists and\nlooking at Albine clinging round Serge’s neck, with the disgust of a man\nwho has espied some filth by the roadside." ], [ "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "Abbe Mouret lightly shrugged his shoulders. ‘Well, I didn’t remember\nit,’ he said. It was only when I found myself at the Paradou that I", "But his Lord was no longer there. Then Abbe Mouret, awaking with a\nstart, turned horribly pale. He understood it all. He had not known", "The feeling of melancholy regret evoked by this recollection surprised\nAbbe Mouret extremely. Was he not happy, too? Until that day he had", "Abbe Mouret opened his eyes again. The burning apparition of Albine\nvanished. It was sudden and unexpected solace. He was able to weep.", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "One morning, however, as she raised his pillows, not daring to try again\nthe broken spell of her hands, she fancied that she once more caught the\nfirst day’s smile on Serge’s lips.", "Then all at once Abbe Mouret remembered: The fever had struck him in\nDesiree’s farmyard, while he was looking at the hens still warm from", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I", "This evocation of the deep joys of his youth had given Abbe Mouret a\ntouch of feverishness. He no longer felt the cold. He put down the tongs", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "In Serge Mouret, her lover, we find a man who, in more than one respect,", "‘Why suffer? why die?’ she said. ‘O Serge, if you would only\nremember!... You told me, that morning, that you were tired. But I knew", "That night Abbe Mouret slept very heavily. When he opened his eyes in\nthe morning, later than usual, his face and hands were wet with tears.", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "He did not seem to hear her, his brain as yet was void. His eyes,\nalthough his head remained motionless, wandered inquiringly round the\nroom, and it struck her that he was wondering where he might be.", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Abbe Mouret slowly raised his head. By a supreme effort he had overcome\nhis agony, and though his face was still very pale, he exclaimed in a\nfirm voice, ‘One should never sin; never! never!’" ], [ "‘I want to see Serge,’ said Albine, simply.", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "Serge’s eyes, especially, were attracted to them as to the very source\nof light, in which he sought to steep himself, as in diluted sunshine", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Then Serge began to laugh, and offered to help her in her search. He\nconducted himself very gently in order that he might not again alarm", "‘Where are you going to take me?’ asked Serge.\n\n‘You will see, you will see.’", "‘Is Serge there?’ he cried, in a voice full of indignant excitement.", "upon Serge. The pit-pat of her feet was yet another voice that called\nhim; an imperious voice that echoed ever more and more loudly within", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "Serge unresistingly stepped towards the breach. As soon as Brother\nArchangias, with rough violence, had dragged him out of the Paradou,", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "‘No, no,’ said Serge, ‘you weary me, I don’t want to go so far.... I\nwill only go a couple of steps, that will be more than enough.’", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Thus she urged him on from bush to bush till she had driven him back\nto the breach in the wall, in the midst of the stern-looking trees.\nAnd there, as she saw Serge hesitate, with lowered head she cried out\nviolently:", "Desiree cast a hasty glance at the church, and then whispered, ‘Yes,\nyes; Serge will be finely caught. Come with me. We will hide ourselves,\nand keep quite quiet. We shall have some fine fun!’", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "But Serge continued:", "She raised her voice, and threw one of her arms round Serge’s neck, as\nshe continued: ‘Tell me, now; shall we search for it together? We shall", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’" ], [ "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "Monsieur Pascal, as the poor folk of Plassans, whom he attended for\nnothing, briefly styled him. Although barely over fifty, he was already", "Of the minor characters that figure in ‘La Faute de l’Abbe Mouret’ the\nchief thing to be said is that they are lifelike. If Serge is almost", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "her dear patient. She talked of sending for Doctor Pascal, but Serge\nwould not have it.", "Doctor Pascal nudged Abbe Mouret with his elbow. With blinking eyes he\nwas curiously observing the old man and nodding approvingly in order to", "In Serge Mouret, her lover, we find a man who, in more than one respect,", "‘Oh! they are only some little boys playing,’ said Serge, as he\ndescended from the table. ‘Do you know how to play at “hot cockles”?’", "* See M. Zola’s novels, _Dr. Pascal_ and _The Fortune of the\n Rougons_.--ED.", "‘Serge, I love you,’ Albine answered.", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "‘Serge! Serge!’ cried Albine, lost to sight behind the high shrubs of\nthe flower garden. ‘Don’t be afraid, I am here.’", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "To avoid replying the doctor chirruped to his horse, and then went on:\n‘Briefly, everybody is well--your aunt Felicite, your uncle Rougon, and", "‘And Serge?’ murmured Albine, quite mechanically.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "that deal with the career of Octave Mouret, Abbe Serge Mouret’s elder\nbrother. In ‘The Conquest of Plassans,’ Serge and his half-witted" ], [ "‘Serge, I love you,’ Albine answered.", "Serge seemed a little surprised at this speedy termination of their\nsleep. He stretched out his arm and caught hold of Albine, as though to", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "At that moment Albine was still wandering about the Paradou with all\nthe mute agony of a wounded animal. She had ceased to weep. Her face was", "It was a morning of childish play, of wild gambols in the Paradou.\nAlbine and Serge spent hours, scampering up and down, shouting and", "‘What do they say?’ asked Serge, half swooning, as Albine pressed him to\nher bosom. The voices of the Paradou were growing yet more distinct.", "Though to outward seeming Albine had yielded her weaker self to the\nguidance of Serge, to whose shoulder she clung, it was she who really", "XVI\n\nAlbine and Serge smiled at one another.\n\n‘I love you, Albine,’ said Serge.", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "‘I want to see Serge,’ said Albine, simply.", "And Albine led Serge straight on to a spot that seemed to be the\ngraveyard of the flower-garden. There the scabious mourned, and", "‘Look,’ cried Albine; ‘look, there is the garden, and there are the\nmeadows and the forest.’\n\nFor a moment they looked at the Paradou spread out beneath their feet.", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "Then Albine and Serge instinctively raised their heads. In front of them\nthey beheld a colossal mass of foliage; and, as they hesitated for a", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "Albine meanwhile was gazing at Serge asleep. She had never seen him so\nutterly prostrated in body as now, his hands lying open on the turf, his", "‘Serge! Serge!’ cried Albine, lost to sight behind the high shrubs of\nthe flower garden. ‘Don’t be afraid, I am here.’", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Serge still wept.\n\nAlbine said nothing more. She flung her arms around him; she pressed her\nwarm lips to his corpse-like face; but tears were still his only answer.", "‘And Serge?’ murmured Albine, quite mechanically." ], [ "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I", "One morning, however, as she raised his pillows, not daring to try again\nthe broken spell of her hands, she fancied that she once more caught the\nfirst day’s smile on Serge’s lips.", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "surged to her cheeks. With eyes full of soft entreaty, she still strove\nto awaken Serge’s memory. It was along that path that they had walked", "are here, all our old happiness will return. There will be no more\nwretchedness.... See! I am smiling. You must smile, too, Serge.’", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "‘Why suffer? why die?’ she said. ‘O Serge, if you would only\nremember!... You told me, that morning, that you were tired. But I knew", "thought of how she had clambered up into the cherry-tree that had broken\ndown beneath her. He, Serge, must at least remember what a quantity of", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "She sprang up hastily, and slightly blushed for the first time that day.\nThen sitting down by the side of Serge, she told him of the fine times", "Then Serge began to laugh, and offered to help her in her search. He\nconducted himself very gently in order that he might not again alarm", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "But Serge no longer felt frightened. He was being born anew in the\nsunshine, in that pure bath of light which streamed upon him. He was", "Serge was now quite close to her, and he murmured, ‘But a little time\nago you were afraid of me.’", "disquietude. But just as they were going away, Albine seemed to recall\nsomething and led Serge back again, saying:", "him, breathing on his neck to rouse him. But that morning Serge never\neven felt the breath that lifted his silky beard. The sun got low, it", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay" ], [ "her dear patient. She talked of sending for Doctor Pascal, but Serge\nwould not have it.", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "La Teuse was jealous. Dr. Pascal had had a tremendous fight with her\nin order to get her patient away at the time when he had come to the", "Doctor Pascal nudged Abbe Mouret with his elbow. With blinking eyes he\nwas curiously observing the old man and nodding approvingly in order to", "direction. Serge did not cease running till he had reached the pavilion,\nand had thrown himself upon his bed, his brain on fire, and despair in", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "betook themselves to their lesson in plain-chant with folded arms and\nhanging heads. And thus Serge’s day closed in peacefulness; he returned", "Monsieur Pascal, as the poor folk of Plassans, whom he attended for\nnothing, briefly styled him. Although barely over fifty, he was already", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "They stood looking at each other, feeling rather ill at ease. And deep\nsilence fell between them. Serge, who evinced perfect calmness, did not", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "assuredly find passion once more. But Serge soon began to stumble\npitiably. He could walk no further. He fell a first time on his knees.", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "of renewed hope. One thing which she could not conceal from Serge was\nthat she suffered from extreme lassitude. Even during the few moments\nthey spent together she could not prevent her head from nodding, or keep", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "Then Serge began to laugh, and offered to help her in her search. He\nconducted himself very gently in order that he might not again alarm", "Albine meanwhile was gazing at Serge asleep. She had never seen him so\nutterly prostrated in body as now, his hands lying open on the turf, his", "Serge, who had already been so afraid of the light, felt considerable\ntrepidation when he found himself strong enough to go and rest his" ], [ "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "Sunday was a busy day for Abbe Mouret. He had to think of vespers, which\nhe generally said to empty seats, for even mother Brichet did not carry", "Serge’s eyes, especially, were attracted to them as to the very source\nof light, in which he sought to steep himself, as in diluted sunshine", "They had barely walked a few minutes, however, before Serge, worn out\nwith fatigue, wished to sit down. He stretched himself upon the ground,", "betook themselves to their lesson in plain-chant with folded arms and\nhanging heads. And thus Serge’s day closed in peacefulness; he returned", "Desiree cast a hasty glance at the church, and then whispered, ‘Yes,\nyes; Serge will be finely caught. Come with me. We will hide ourselves,\nand keep quite quiet. We shall have some fine fun!’", "him, breathing on his neck to rouse him. But that morning Serge never\neven felt the breath that lifted his silky beard. The sun got low, it", "Monsieur Pascal, as the poor folk of Plassans, whom he attended for\nnothing, briefly styled him. Although barely over fifty, he was already", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "She pried into all the gloomy corners with an inquisitive glance, and\neven stepped up to the confessional-box, as though she had expected\nto surprise some one hiding there. Then she came back to Serge,\ndisappointed, and continued:", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge was now quite close to her, and he murmured, ‘But a little time\nago you were afraid of me.’", "in the seminaries. The new priests weep like children with their\nparishioners. God no longer seems the same. I dare say, Monsieur le", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "He kept his eyes fixed upon the priest as he spoke, but he did not\ndetect so much as a quiver of Serge’s eyelids.", "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "A few seconds later she could be heard swearing in the sacristy because\nthe matches were damp. Brother Archangias, who remained alone with the\npriest, sourly inquired: ‘For the month of Mary, eh?’", "The mystery of love, the immolation of the Holy Victim, was about\nto begin. The server took the Missal and bore it to the left, or", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her" ], [ "The Brother remained for a moment silent, clenching his fists and\nlooking at Albine clinging round Serge’s neck, with the disgust of a man\nwho has espied some filth by the roadside.", "As he shouted those last words, he pushed Albine forcibly towards the\ndoor. She, extremely pale, retreated step by step. When he had finished\nin a gasping voice she very gravely answered:", "But when he saw Albine driving away the priest, he stopped for a moment\nin surprise. Then he struck the stones yet more vigorously, and burst\ninto a roar of laughter.", "At that moment Albine was still wandering about the Paradou with all\nthe mute agony of a wounded animal. She had ceased to weep. Her face was", "For a moment Albine remained silent, gazing at the unhappy man who lay\nshivering at her feet. Her face flared. She opened her arms as if to", "when Albine came to visit him. They would remain face to face, gazing\nat one another sadly, and uttering but a few soft words, which seemed to", "Abbe Mouret opened his eyes again. The burning apparition of Albine\nvanished. It was sudden and unexpected solace. He was able to weep.", "Then, after a week had gone by, Albine’s visit never lasted more than\na few minutes. She seemed to shun him. When she came to the room, she", "Then, after a long silence, Albine spoke. She stood erect, full of\ncontempt and determination.\n\n‘Away with you! Go!’ she said, in a low voice.", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "They were disturbed by the sight of them, and as Albine felt Serge’s hot\nbreath on her neck she started and left his side to seat herself on the", "Albine seemed put out. She repeated to him what every one in the\nneighbourhood knew. The lord had built the pavilion for the reception of", "Albine, however, again touched him on the shoulder. She was growing\nuneasy and angry.", "Albine. It would be vain for him to try to obliterate the traces of\nhis priesthood. He would always wear that mournful pallor and carry the", "Albine did not smile. Her face was very pale, and there was a feverish\ngleam in her eyes. A few drops of blood trickled from her hands. When\nshe had recovered her breath, she hastily exclaimed:", "had spoken at Albine’s feet. Their echoes were now accusing him before\nthe throne of God. He had acknowledged Woman as his sovereign. He had", "‘Yes,’ Albine gravely declared, ‘it is forbidden. All the folks of the\ncountryside have told me that it is forbidden.’", "During the month of May the young priest’s expectation was fraught with\njoyful hope. To La Teuse’s grumblings he no longer paid the slightest", "But Albine’s joy was still tinged with disquietude. She would suddenly\npause amid her laughter and listen anxiously.\n\n‘What is the matter?’ asked Serge.", "At times when Albine thought him asleep, she would vanish for hours. And\non coming in again, she would find him burning with impatience, his eyes\ngleaming with curiosity." ], [ "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "the Paradou--a name which one need hardly say is Provencal for\nParadise*--and there Serge Mouret, on recovering from brain fever,", "The young priest lowered his eyes, and gazed upon the village of Les\nArtaud. It had sunk into the heavy slumber of weariness, the soundness", "the village. Abbe Mouret and Brother Archangias followed him, chatting.\nA hundred yards further Vincent surreptitiously bolted, and again glided", "Abbe Mouret spent his days at the parsonage. He shunned the long walks\nwhich he had been wont to take before his illness. The scorched soil of", "A few strides brought Brother Archangias up with Abbe Mouret, who was\nwalking down the narrow path that led to the village. The Brother had", "Abbe Mouret had just come down to the sacristy, a small and chilly\napartment, which a passage separated from his dining-room.", "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "the village, Abbe Mouret would not let his uncle drive him back to the\nvicarage. He jumped down, saying:", "Abbe Mouret, now wearing his cassock but still bareheaded, had come\nback to kneel at the foot of the altar. In the grey light that streamed", "Abbe Mouret pointed to his cassock.\n\n‘I cannot,’ he simply said. ‘I am a priest.’", "‘Ah! here is Monsieur le Cure!’ cried all the company of Bambousses and\nBrichets as Serge entered.", "Then Abbe Mouret slowly rose to his feet. He leant against the altar,\nand replied:\n\n‘No. You are mistaken. I belong to God.’", "The gig once more rolled along the road skirting the Paradou’s\ninterminable wall. Abbe Mouret, still silent, scanned with upturned eyes", "La Teuse had stepped to the edge of the hill. ‘Monsieur le Cure is in\nhis room,’ she said. ‘He must be reading his breviary. Do you want to", "Then without again opening his lips he accompanied Abbe Mouret to the\nparsonage. And he waited outside till the door was closed. Even then he", "When Abbe Mouret had got beyond all hearing of La Teuse he stopped,\nthankful to be alone at last. The church was built on a hillock, which", "Abbe Mouret made no answer. He was dressing the chalice at a small\ntable. A large old silver-gilt chalice it was with a bronze base, which", "‘Silence! Silence!’ said Abbe Mouret, summoning all his strength to rise\nand move away.", "‘Monsieur le Cure is free to do as he pleases, since the parish hasn’t\ngot to find the money,’ said old Bambousse, who came round every evening\nto see how the work was progressing." ], [ "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "‘The Paradou!’ stammered Serge, stretching out his arms as if to clasp\nthe entire garden to his breast.", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge unresistingly stepped towards the breach. As soon as Brother\nArchangias, with rough violence, had dragged him out of the Paradou,", "And waving one hand all round the landscape, she repeated with an air of\ntriumph, full of tender promise: ‘The Paradou! The Paradou!’\n\nSerge looked out upon it, speechless.", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "betook themselves to their lesson in plain-chant with folded arms and\nhanging heads. And thus Serge’s day closed in peacefulness; he returned", "the Paradou--a name which one need hardly say is Provencal for\nParadise*--and there Serge Mouret, on recovering from brain fever,", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay", "‘What do they say?’ asked Serge, half swooning, as Albine pressed him to\nher bosom. The voices of the Paradou were growing yet more distinct.", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "It was a morning of childish play, of wild gambols in the Paradou.\nAlbine and Serge spent hours, scampering up and down, shouting and", "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "Paradou is hers. The very day after she came she took possession of it.\nShe lives in it; jumps out of the window when Jeanbernat locks the door,", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained" ], [ "the Paradou--a name which one need hardly say is Provencal for\nParadise*--and there Serge Mouret, on recovering from brain fever,", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "And waving one hand all round the landscape, she repeated with an air of\ntriumph, full of tender promise: ‘The Paradou! The Paradou!’\n\nSerge looked out upon it, speechless.", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "The old servant, however, was troubled by a suspicion, and taking her\nstand on her sound leg, she looked the young cure in the face.\n\n‘So you know the Paradou people?’ she said.", "‘The Paradou!’ stammered Serge, stretching out his arms as if to clasp\nthe entire garden to his breast.", "‘I have come from the Paradou,’ he said, abruptly. ‘Jeanbernat came to\nfetch me there. I have seen Albine, and she disquiets me. She needs much\ncareful treatment.’", "Paradou is hers. The very day after she came she took possession of it.\nShe lives in it; jumps out of the window when Jeanbernat locks the door,", "‘What do they say?’ asked Serge, half swooning, as Albine pressed him to\nher bosom. The voices of the Paradou were growing yet more distinct.", "It was a morning of childish play, of wild gambols in the Paradou.\nAlbine and Serge spent hours, scampering up and down, shouting and", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "Serge unresistingly stepped towards the breach. As soon as Brother\nArchangias, with rough violence, had dragged him out of the Paradou,", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "distinguished among themselves by nicknames. An Artaud, their ancestor,\nhad come hither and settled like a pariah in this waste. His family had", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "he was now on his way to old Jeanbernat, the steward of the Paradou, who\nhad had an apoplectic stroke the night before. A neighbour, a peasant on", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "They stood looking at each other, feeling rather ill at ease. And deep\nsilence fell between them. Serge, who evinced perfect calmness, did not" ], [ "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "him, breathing on his neck to rouse him. But that morning Serge never\neven felt the breath that lifted his silky beard. The sun got low, it", "One morning, however, as she raised his pillows, not daring to try again\nthe broken spell of her hands, she fancied that she once more caught the\nfirst day’s smile on Serge’s lips.", "Serge, who had already been so afraid of the light, felt considerable\ntrepidation when he found himself strong enough to go and rest his", "and raising one of the curtains. On the edge of the big bed lay Serge,\napparently asleep, with his head resting on his bent arm. During his", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "The fine weather broke up on the morrow, and it rained heavily.\nSerge’s fever returned, and he spent a day of suffering, with his eyes", "She laid him down in bed and shut the windows. Next morning, however,\nthey were opened at break of day. Serge could no longer live without the", "of renewed hope. One thing which she could not conceal from Serge was\nthat she suffered from extreme lassitude. Even during the few moments\nthey spent together she could not prevent her head from nodding, or keep", "At dawn the next day it was Serge who called Albine. She slept in a room\non the upper floor. He looked up at her window and saw her throw open", "Albine meanwhile was gazing at Serge asleep. She had never seen him so\nutterly prostrated in body as now, his hands lying open on the turf, his", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "But, after that tender radiant dawn, it seemed to Serge as if the sky\nwere suddenly overcast. His feet now trod on brambles, the beads of the", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "They had barely walked a few minutes, however, before Serge, worn out\nwith fatigue, wished to sit down. He stretched himself upon the ground,", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I" ], [ "And waving one hand all round the landscape, she repeated with an air of\ntriumph, full of tender promise: ‘The Paradou! The Paradou!’\n\nSerge looked out upon it, speechless.", "the Paradou--a name which one need hardly say is Provencal for\nParadise*--and there Serge Mouret, on recovering from brain fever,", "‘The Paradou!’ stammered Serge, stretching out his arms as if to clasp\nthe entire garden to his breast.", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "It was a morning of childish play, of wild gambols in the Paradou.\nAlbine and Serge spent hours, scampering up and down, shouting and", "‘What do they say?’ asked Serge, half swooning, as Albine pressed him to\nher bosom. The voices of the Paradou were growing yet more distinct.", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "The old servant, however, was troubled by a suspicion, and taking her\nstand on her sound leg, she looked the young cure in the face.\n\n‘So you know the Paradou people?’ she said.", "He laughed, but in such a friendly, good-humoured way that Serge himself\nbegan to indulge in jocularity.", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "In Serge Mouret, her lover, we find a man who, in more than one respect,", "Serge shrugged his shoulders, and smiled. ‘What would be the use?’ he\nsaid. ‘Is it not pleasant in the parterre? Don’t you think we ought to", "Serge laughed in rather an embarrassed way. ‘Bah!’ he muttered, ‘we have\nbeen everywhere, we know all the garden by heart.’", "They stood looking at each other, feeling rather ill at ease. And deep\nsilence fell between them. Serge, who evinced perfect calmness, did not", "Paradou is hers. The very day after she came she took possession of it.\nShe lives in it; jumps out of the window when Jeanbernat locks the door,", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "But Serge stopped. They were now in the midst of an old ruined\ncolonnade. Some of the columns offered inviting seats as they lay" ], [ "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I", "One morning, however, as she raised his pillows, not daring to try again\nthe broken spell of her hands, she fancied that she once more caught the\nfirst day’s smile on Serge’s lips.", "‘Why suffer? why die?’ she said. ‘O Serge, if you would only\nremember!... You told me, that morning, that you were tired. But I knew", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "surged to her cheeks. With eyes full of soft entreaty, she still strove\nto awaken Serge’s memory. It was along that path that they had walked", "are here, all our old happiness will return. There will be no more\nwretchedness.... See! I am smiling. You must smile, too, Serge.’", "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "thought of how she had clambered up into the cherry-tree that had broken\ndown beneath her. He, Serge, must at least remember what a quantity of", "Serge was now quite close to her, and he murmured, ‘But a little time\nago you were afraid of me.’", "disquietude. But just as they were going away, Albine seemed to recall\nsomething and led Serge back again, saying:", "She burst into tears as she stood there by his side, feeling that she\ncould not carry him any higher. There was no sign of anger in her\nnow. She was simply weeping over their dying love. Serge lay dazed and\nstupefied.", "Then Serge began to laugh, and offered to help her in her search. He\nconducted himself very gently in order that he might not again alarm", "him, breathing on his neck to rouse him. But that morning Serge never\neven felt the breath that lifted his silky beard. The sun got low, it", "But Serge no longer felt frightened. He was being born anew in the\nsunshine, in that pure bath of light which streamed upon him. He was" ], [ "‘Serge! Serge!’ she called.\n\nAnd catching sight of her brother in the garden, she ran up to him and\nsat down for a minute on the ground at his feet, begging him to follow\nher:", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "The Abbe, who by this time had risen, made no answer. He had been on\nthe point of speaking about the Paradou, and asking for some information", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "In his turn the Abbe then endeavoured to elicit some fresh particulars\nabout the people at the Paradou, and listened intently to the Brother’s\nmonstrous narrative.", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "It was a morning of childish play, of wild gambols in the Paradou.\nAlbine and Serge spent hours, scampering up and down, shouting and", "Serge Mouret grows up, is called by an instinctive vocation to the\npriesthood, and becomes parish priest of Les Artaud, a well-nigh pagan", "life in the Paradou tortured him. But the Abbe kept perfect silence, so\nArchangias set off again, jeering as he went. Then, in a louder voice,\nhe said:", "‘What do they say?’ asked Serge, half swooning, as Albine pressed him to\nher bosom. The voices of the Paradou were growing yet more distinct.", "before. La Teuse often mentions it when Serge isn’t there; but she\ntold me that I was not to repeat it. Wait a moment, I shall remember it\ndirectly!’", "* From this point in the original Serge and Albine thee and thou\n one another; but although this _tutoiement_ has some bearing on\n the development of the story, it was impossible to preserve it\n in an English translation.--ED.", "‘Serge, I love you,’ Albine answered.", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "They stood looking at each other, feeling rather ill at ease. And deep\nsilence fell between them. Serge, who evinced perfect calmness, did not", "‘The Paradou!’ stammered Serge, stretching out his arms as if to clasp\nthe entire garden to his breast.", "Serge’s movements. So, in her turn, she set about seeking him; and she\nwas surprised, almost vexed, when she discovered him under a plum-tree,", "Serge made no reply. But as they went home, they took the path which\nAlbine had pointed out, past the chestnuts and under the limes. It was a", "And waving one hand all round the landscape, she repeated with an air of\ntriumph, full of tender promise: ‘The Paradou! The Paradou!’\n\nSerge looked out upon it, speechless." ], [ "But Serge was quivering. He had began to recollect. The past was\nre-awakening. He could distinctly hear the stir of the village life.", "Serge’s answer was a childish laugh. His limbs were regaining the\nstrength of adolescence, but more perceptive sensations remained", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I", "‘O God!’ cried Serge, falling on his knees, quite overcome by the\nemotion which the soft notes of the bell had excited in him.", "surged to her cheeks. With eyes full of soft entreaty, she still strove\nto awaken Serge’s memory. It was along that path that they had walked", "and have sought God anew upon recovering from his fever. And what a\nfrightful proof he now had of his vileness: he was not even able to", "are here, all our old happiness will return. There will be no more\nwretchedness.... See! I am smiling. You must smile, too, Serge.’", "Serge still wept.\n\nAlbine said nothing more. She flung her arms around him; she pressed her\nwarm lips to his corpse-like face; but tears were still his only answer.", "him, calling out to him that he must not stir. Serge, standing\nthere with drooping hands, slowly turned his head towards the park.\nTerrestrial childhood met his gaze. The pale greenery was steeped in the", "betook themselves to their lesson in plain-chant with folded arms and\nhanging heads. And thus Serge’s day closed in peacefulness; he returned", "‘Why suffer? why die?’ she said. ‘O Serge, if you would only\nremember!... You told me, that morning, that you were tired. But I knew", "Serge, distracted, laid his fingers on her lips, and stammered: ‘Don’t\ntell me anything, I beg you. I want to know nothing of it. It will kill\nme, if you speak.’", "Serge, who had already been so afraid of the light, felt considerable\ntrepidation when he found himself strong enough to go and rest his", "One morning, however, as she raised his pillows, not daring to try again\nthe broken spell of her hands, she fancied that she once more caught the\nfirst day’s smile on Serge’s lips.", "thought of how she had clambered up into the cherry-tree that had broken\ndown beneath her. He, Serge, must at least remember what a quantity of", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "But was it a sin to love Albine, a sin for which he, Serge, would\nbe damned? No; if his love was clean of all fleshly taint, and added", "Then silence fell. Serge rose from the couch where he had been lolling,\nand laughed, and pretended that he did not care about stories. The sun", "He kept his eyes fixed upon the priest as he spoke, but he did not\ndetect so much as a quiver of Serge’s eyelids.", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’" ], [ "Serge said nothing. He looked at the girl and then at Albine, as though\nhe were comparing them one with the other. Albine pulled up one of her", "Then, after a long interval of silence, Serge would say to Albine in a\ntone full of anxiety: ‘You are ill?’", "Albine had not been mistaken. Some one was, indeed, there, disturbing\nthe woodland quiet with jealous inquisition. Then both Albine and Serge,", "‘Serge, I love you,’ Albine answered.", "‘Do you love me? Oh! do you love me?’ reiterated Albine.\n\nBut Serge hastily drew away from her as though her bare arms and\nshoulders really scorched him.", "disquietude. But just as they were going away, Albine seemed to recall\nsomething and led Serge back again, saying:", "‘And Serge?’ murmured Albine, quite mechanically.", "Albine meanwhile was gazing at Serge asleep. She had never seen him so\nutterly prostrated in body as now, his hands lying open on the turf, his", "‘Dear Serge,’ said Albine softly, ‘how you must have suffered.’", "The following morning he was still asleep when Albine, to hasten his\nrecovery, cried out to him:\n\n‘Serge! Serge! here’s the sun!’", "For a moment Albine remained silent, gazing at the unhappy man who lay\nshivering at her feet. Her face flared. She opened her arms as if to", "Serge seemed a little surprised at this speedy termination of their\nsleep. He stretched out his arm and caught hold of Albine, as though to", "Then Albine and Serge instinctively raised their heads. In front of them\nthey beheld a colossal mass of foliage; and, as they hesitated for a", "Moved by the sight Albine was about to let the curtain fall again. But\nSerge faintly murmured, ‘I am not asleep.’", "‘Serge! Serge!’ cried Albine, lost to sight behind the high shrubs of\nthe flower garden. ‘Don’t be afraid, I am here.’", "At that moment Albine was still wandering about the Paradou with all\nthe mute agony of a wounded animal. She had ceased to weep. Her face was", "‘For pity’s sake,’ sobbed Albine, ‘don’t look out, Serge. Remember that", "They were disturbed by the sight of them, and as Albine felt Serge’s hot\nbreath on her neck she started and left his side to seat herself on the", "The Brother remained for a moment silent, clenching his fists and\nlooking at Albine clinging round Serge’s neck, with the disgust of a man\nwho has espied some filth by the roadside.", "Then, on feeling Serge’s arm tremble, she added: ‘But perhaps I am\nmistaken.... Yet I seem to remember that I suddenly came upon it as I" ] ]

[ "Why did the villagers did'nt come to church?", "What happened to Serge Mouret?", "Who put Serge Mouret in a home care?", "Who did Serge Mouret fell in love with?", "What did Serge Mouret and Albine did?", "What happened when Serge Mouret regain his memory?", "Why did Serge want to go to Artauds?", "What relation is Pascal Rougon to Serge?", "What happens to Albine and Serge at Le Paradou?", "How does Serge's memory return?", "Where does Dr. Pascal send Serge to recover from his nervous breakdown?", "Why do very few people attend Serge's Masses?", "Why does Albine become upset after the monseignor's visit?", "What is the name of the village where Serge Mouret becomes parish priest?", "What happens to Serge for him to be placed in La Paradou?", "What is the name of the distant relative who places Serge in La Paradou?", "What is Serge suffering from when he wakes up?", "Who is Serge's friend at La Paradou?", "What causes Serge's memory to return?", "What happens between Serge and Abine during his time at La Paradou?", "When Serge's memory returns, how does he respond to his sins?", "Why is Albine bewildered at the reurn of Serge's memory?" ]

[ [ "The villagers were not interested in religion.", "They had no interest" ], [ "Serge Moute had a nervous breakdown.", "he had a nervous breakdown" ], [ "Le Docteur Pascal", "Pascal Rougon" ], [ "Albine", "Albine" ], [ "They made love", "Fall in love" ], [ "He left Albine", "He feels guilty and becomes more religious." ], [ "He has time to think about his faith and religious affairs.", "better life " ], [ "Pascal is a distant cousin.", "Distant" ], [ "They fall in love.", "The live a blissful life." ], [ "His former monseignor discovers Serge and Albine having sex.", "mosenior gives it back to him" ], [ "A derelict home called Le Paradou.", "Le Paradou" ], [ "The villagers don't care about religion.", "They have no interest" ], [ "She lost her soulmate, Serge, after he regained his memory.", "Serges memory returns" ], [ "Artauds", "Artauds" ], [ "He collapses into a near comatose state.", "albine begins to take care of him" ], [ "Doctor Pascal Rougon", "Pascal Rougon" ], [ "Amnesia", "Amnesia" ], [ "Albine.", "Albine" ], [ "He is discovered by a former monseignor.", "the monsenior" ], [ "They fall in love.", "They fall in love" ], [ "He plunges into a deep relgious fervor.", "He is wracked with guilt" ], [ "She loses her soulmate.", "She has lost her soulmate." ] ]

[ [ "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "\"That is what I suspect,\" replied Tarzan; \"but whatever the cause, the\nfact remains that I have lost everything, and there is nothing for it\nbut to return to Opar and get more.\"", "Months had passed. The labor of the Waziri and the gold of Opar had\nrebuilt and refurnished the wasted homestead of the Greystokes. Once", "\"There is no other way half so easy to obtain another fortune, as to go\nto the treasure vaults of Opar and bring it away,\" he replied. \"I", "rescued and avenged, of that she was certain. She counted the days\nthat must elapse before he would return from Opar and discover what had", "\"Cadj, the High Priest,\" he announced, \"would sacrifice you both to the\nFlaming God; but all of us except Cadj would gladly return to Opar with\nour queen.\"", "\"You will obey the commands of your queen,\" he said, \"and go back to\nOpar with her or Tarzan of the Apes will call together the other", "dead. If you are not all fools you will let me go my way in peace and\nyou will return to Opar with La. I know not where the sacred knife is;", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "back. Werper recognized the party immediately as that which had\naccompanied Tarzan on his journey to Opar. He glanced at the ape-man;", "fortune in the strangely shaped, golden ingots of Opar. In the\nmeantime he would carry as much of the precious metal to the summit of\nthe kopje as he could.", "by the Oparians. Among the legends of Opar were tales of godlike men\nof the olden time and of black men who had come more recently; but", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "when it departed from Opar brought down no thoughts of vengeance upon\nhis head. Of course, he should be slain when captured; but his death", "You know. You have had something to do with all this. You followed me\nto Opar, you stole the jewels which I thought but pretty pebbles. You", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "2\n\nOn the Road To Opar", "you returning to that frightful city. I would rather live in poverty\nalways than to have you risk the hideous dangers of Opar.\"" ], [ "earth. When Atlantis, with all her mighty cities and her cultivated\nfields and her great commerce and culture and riches sank into the sea", "by the standards of prehistoric Atlantis alone, but by those of modern\ntimes was La physically a creature of perfection. Before Tarzan came", "within the treasure chamber, where, ages since, long-dead hands had\nranged the lofty rows of precious ingots for the rulers of that great\ncontinent which now lies submerged beneath the waters of the Atlantic.", "from some long-dead progenitor of lost and forgotten Atlantis. The\nloss of the crown jewels or the Great Seal of England could have\nbrought no greater consternation to a British king than did the", "pure and undegraded in the females descended from a single princess of\nthe royal house of Atlantis who had been in Opar at the time of the\ngreat catastrophe. Such was La.", "weird hymns in the ancient tongue of that lost continent that lies at\nthe bottom of the Atlantic. They knew not the meanings of the words\nthey mouthed; they but repeated the ritual that had been handed down", "these latter had been enemies who killed and robbed. And, too, these\nlegends always held forth the hope that some day that nameless\ncontinent from which their race had sprung, would rise once more out of", "last he fell and could rise no more. How long he had fled he did not\nknow, or try to know. When he could flee no longer the knowledge that", "Gropingly backward into the past reached the fingers of memory, until\nat last they seized upon a faint picture, faded and yellow with the\npassing years. It was the picture of a lithe, white-skinned youth", "long ages since, she took with her all but a handful of her colonists\nworking the vast gold mines of Central Africa. From these and their\ndegraded slaves and a later intermixture of the blood of the", "And then, in the span of a few brief seconds, the hopes of both these\nmen were shattered. The one forgot even his greed in the panic of", "A deep sigh from the cavernous lungs dispelled the illusion. The\nmighty head swung slowly around until the yellow eyes rested upon the", "had sunk, that had made it possible for him, a well-born, European\ngentleman, to have entertained even for a moment the part that he had", "As he stood there measuring the distance to the opposite side and\nwondering if he dared venture so great a leap, there broke suddenly\nupon his startled ears a piercing scream which diminished gradually", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "And when, at last, he found it, he clasped it to him and sank back\nsobbing and exhausted. For many minutes he lay trembling and broken;", "God, midway of one of the many inky passages which the superstitious\ndescendants of the ancient Sun Worshipers had either dared not or cared\nnot to explore.", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "For a moment La stood looking after him, then her head drooped, a sigh\nescaped her lips and like an old woman she took up the march toward\ndistant Opar.", "For a moment the old man was silent. When he spoke it was evidently\nafter some little effort to muster his courage. \"I knew you of old,\"" ], [ "And so Tarzan of the Apes forged steadily ahead toward Opar's ruined\nramparts and behind him slunk Werper, jackal-like, and only God knew\nwhat lay in store for each.", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "forth from behind Opar's crumbling walls, yet their very numbers\nprotected them and so they came without fatalities far along the trail\nof Tarzan and Werper. Three great apes accompanied them and to these", "back. Werper recognized the party immediately as that which had\naccompanied Tarzan on his journey to Opar. He glanced at the ape-man;", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "At the edge of the desolate valley, overlooking the golden domes and\nminarets of Opar, Tarzan halted. By night he would go alone to the", "\"Protect her,\" cried Tarzan to the other Oparians. \"Protect her so\nthat when Tarzan comes again he will find La there to greet him.\"", "\"You will obey the commands of your queen,\" he said, \"and go back to\nOpar with her or Tarzan of the Apes will call together the other", "It was upon the third day of their progress from Opar that the keen\nears of Tarzan caught the sound of men behind them. Werper heard", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "Tarzan and the Jewels of Opar\n\n\nBy\n\nEdgar Rice Burroughs", "\"You are many against one,\" spoke up Tarzan. \"Why should you not have\nyour will? Go your way with La to Opar and if Cadj interferes slay\nhim.\"", "Tarzan followed the trail. On hands and knees, he crawled through the\nsmall aperture. Within the hut his nostrils were assailed by many", "\"The jewels of Opar!\" cried Tarzan. \"But how did Werper come by them\nagain?\"\n\nNone could answer, for both Chulk and Werper were dead, and no other\nknew.", "\"They cannot be far ahead of us,\" said Tarzan, \"Basuli and the others.\nThe gold is gone and the jewels of Opar, Jane; but we have each other", "It was long after darkness had fallen, that Tarzan led his companions\nfrom their hiding place in the tree to the ground and around the\npalisade to the far side of the village.", "So the Abyssinians and the Belgian marched southward and Tarzan of the\nApes swung silently after them through the swaying branches of the\nmiddle terrace.", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming" ], [ "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "Behind Tarzan came the great apes, wondering, but obedient to his\nsummons. The Arabs saw that they would not have time to mount and make", "Taglat nursed his secret purpose to better advantage than might have\nbeen expected of an ape, yet there were times when he, too, would have\nabandoned the adventure had not Tarzan cajoled him on.", "Tarzan understood, though Werper did not. The former glanced at the\nBelgian and saw that he was unarmed. Stepping quickly to La's side the", "Now they wished to continue upon their interrupted march; but Tarzan\npreferred to follow the Arabs and take the woman from them. After a\nconsiderable argument it was decided that they should first hunt toward", "Tarzan followed the trail. On hands and knees, he crawled through the\nsmall aperture. Within the hut his nostrils were assailed by many", "When all had passed, Tarzan rose and emerged from concealment. He\nlooked down the trail in the direction the party had gone. Then he\nturned to Werper.", "And so it was that as Tarzan, stripped to the loin cloth and armed\nafter the primitive fashion he best loved, led his loyal Waziri toward", "The soldiers, following the signal from their sergeant, closed in to\nseize Werper. Tarzan grabbed the Belgian about the waist, and bearing", "So the Abyssinians and the Belgian marched southward and Tarzan of the\nApes swung silently after them through the swaying branches of the\nmiddle terrace.", "What purpose prompted the Belgian in leading the victim of his\ntreachery and greed back toward his former home it is difficult to\nguess, unless it was that without Tarzan there could be no ransom for\nTarzan's wife.", "Tarzan was not long in following the way that his prey had fled. The\nspoor led always in the shadow and at the rear of the huts and tents of", "constrained to a far from rapid progress. The man he followed was two\ndays ahead of him when Tarzan took up the pursuit, and each day he", "not have followed it twenty paces twelve hours after it had been made,\na black man would have lost it within the first mile; but Tarzan of the\nApes had been forced in childhood to develop senses that an ordinary", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "A hundred yards from where he stood grew a large tree, alone upon the\nedge of the reedy jungle. Tarzan made his way to it, clambered into", "Beneath him, as unconscious of his presence as were the Abyssinians\nbefore and behind him, rode Albert Werper, while the ape-man\nscrutinized the Belgian for some sign of the pouch which he had stolen.", "the man he had been trailing. Tarzan returned to the tree. With keen\neyes he searched the ground about the mutilated corpse for a sign of", "Immediately Tarzan was alert. He lifted his head and sniffed the slow,\njungle breeze. What was it that had attracted Numa's attention and", "possession of them. Possibly the man would give them to him for the\nasking. Werper reached out his hand toward the little pile that Tarzan\nhad arranged upon a piece of flat wood before him." ], [ "when she opened them again she found herself safe and Tarzan whirling\nonward through the forest. Behind them the uprooted tree crashed\nheavily to the ground, carrying with it the lesser trees in its path", "There came, however, an interruption which put an end to the deadlock\nand it came from Tarzan's rear. He and the lions had been making so", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "At first La closed her eyes and clung to Tarzan in terror, though she\nmade no outcry; but presently she gained sufficient courage to look", "For a long time he lay watching and listening. He moved about, making\nmore noise than necessary, yet Tarzan did not awaken. He drew the", "After their first terror had subsided subsequent to the shock of the\nearthquake, Basuli and his warriors hastened back into the passageway\nin search of Tarzan and two of their own number who were also missing.", "Jane Clayton's horse shied suddenly at an object half hidden in the\nlong grasses of an open space in the jungle. Tarzan's keen eyes sought\nquickly for an explanation of the animal's action.", "Tarzan followed the trail. On hands and knees, he crawled through the\nsmall aperture. Within the hut his nostrils were assailed by many", "Even as Tarzan opened his eyes he was upon his feet, his spear grasped\nfirmly in his hand and ready for attack. Again was he Tarzan of the\nApes, sentient, vigilant, ready.", "The ape seized it, and while Tarzan held tightly to the upper end, the\nanthropoid climbed quickly up the shaft until with one paw he grasped", "A hundred yards from where he stood grew a large tree, alone upon the\nedge of the reedy jungle. Tarzan made his way to it, clambered into", "much noise that neither could hear anything above their concerted\nbedlam, and so it was that Tarzan did not hear the great bulk bearing\ndown upon him from behind until an instant before it was upon him, and", "At the edge of the desolate valley, overlooking the golden domes and\nminarets of Opar, Tarzan halted. By night he would go alone to the", "The warped things advanced and entered the shelter. They laid hands\nupon Tarzan and bore him forth, and as they chanted they kept time with", "\"Bring him to the place at which we stopped,\" she commanded and they\ncarried Tarzan back to the little clearing and threw him down beneath a\ntree.", "Tarzan, entering the tent of Achmet Zek, searched the interior\nthoroughly. He tore the bed to pieces and scattered the contents of", "Tarzan, her Tarzan, lived! A cry of unspeakable gladness broke from\nher lips, only to die in terror as she saw the utter defenselessness of", "Tarzan become suddenly rigid as his keen ears noted the cessation of\nthe regular inspirations and expirations of his companion. His", "It was long after darkness had fallen, that Tarzan led his companions\nfrom their hiding place in the tree to the ground and around the\npalisade to the far side of the village.", "and it was several minutes after they had halted at Tarzan's command\nbefore he came slowly up to them, reeling from side to side, and at\nlast falling again beneath the weight of his burden and the shock of" ], [ "who had never known love. And so when love came to her it liberated\nall the pent passions of a thousand generations, transforming La into a", "\"Your answer!\" insisted La. \"What is your answer to the love of La of\nOpar?\"", "\"Build me a shelter!\" ordered La. \"We shall stop here tonight and\ntomorrow in the face of the Flaming God, La will offer up the heart of", "He felt La lean over him and he opened his eyes. He saw her white,\ndrawn face and he saw tears blinding her eyes. \"Tarzan, my Tarzan!\"", "their crooked bodies, swaying to and fro to the rhythm of their song of\nblood and death. Behind them came La, swaying too; but not in unison", "on La's part. She had grown to young womanhood a cold and heartless\ncreature, daughter of a thousand other cold, heartless, beautiful women", "\"Your La is safe,\" said the ape-man. \"Had she slain me she would now\nherself be dead and many more of you; but she spared me that I might", "And La? She fingered her knife and looked down upon her captive. She\nglared and muttered but she did not strike. \"Tonight!\" she thought.", "sometimes a sobbing maiden, generous and forgiving; at once a virgin\nand a wanton; but always--a woman. Such was La.", "him. The ape-man looked upon the menacing creatures which surrounded\nhim and snarled his defiance. He looked upon La and smiled. In the\nface of death he was unafraid.", "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "his back toward La. That was her answer! The High Priestess leaped to\nher feet. A hot flush of shame mantled her cheek and then she went\ndead white and stepped to the shelter's entrance.", "\"La will be there to greet thee,\" exclaimed the High Priestess, \"and La\nwill wait, longing, always longing, until you come again. Oh, tell me\nthat you will come!\"", "During the battle, La regained consciousness. Spellbound, she stood\nabove her victim watching the spectacle. It seemed incredible that a", "Priest whose heart was filled with jealous rage because La openly\nacknowledged her love for the stranger, when by the worldly customs of\ntheir cult she should have belonged to him. Seemingly there was to be", "In the darkness La stooped above him. In her hand was a sharp knife\nand in her mind the determination to initiate his torture without", "and frightful death. His punishment should be adequate to the\nimmensity of his crime. He had wrested the sacred knife from La; he", "Again the lord of the wilderness roared, turning his baleful gaze upon\nthe altar. La staggered forward, reeled, and fell across Werper in a\nswoon.", "\"Do not kill him,\" commanded La in cold tones. \"Bring the great\nTarmangani to me alive and unhurt. The vengeance is La's. Go; but", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La." ], [ "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "At first La closed her eyes and clung to Tarzan in terror, though she\nmade no outcry; but presently she gained sufficient courage to look", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La.", "Tarzan cheated the god of her fathers. At the thought La paused and\nknelt at his side. In her hand was a sharp knife. She placed its", "\"I cannot love you, La,\" said Tarzan in a low voice. \"I do not know\nwhy, for you are very beautiful. I could not go back and live in", "La laughed a bitter laugh, for in her heart she knew that Tarzan's sin\nwas greater than the purloining of the sacrificial knife of Opar; yet", "\"Love me, Tarzan!\" she cried. \"Love me, and you shall be saved.\"", "\"Protect her,\" cried Tarzan to the other Oparians. \"Protect her so\nthat when Tarzan comes again he will find La there to greet him.\"", "proposition. They did not wish to take La back and they did wish to\ncomplete the sacrifice of Tarzan to the Flaming God. At last the\nape-man became impatient.", "\"Did he attempt to kill you?\" continued Tarzan.\n\nThe woman shook her head.\n\n\"Then why should you have wished to kill him?\" Tarzan was determined to\nget to the bottom of the thing.", "He turned toward La. \"We are going now,\" he said.\n\nThe woman rushed forward and seized the ape-man's hands in hers.", "would give La no pleasure--she looked for that in the contemplated\ndeath agonies of Tarzan. He should be tortured. His should be a slow", "Tarzan turned again toward La.\n\n\"Why,\" he asked, \"would you have killed this man? Are you hungry?\"\n\nThe High Priestess cried out in disgust.", "The rest was but a repetition of what Tarzan and Jane Clayton had\npassed through. The priestesses came, and with them La, the High", "The ape-man pushed the kneeling woman aside. \"Tarzan does not desire\nyou,\" he said, simply, and stepping to Werper's side he cut the\nBelgian's bonds and motioned him to follow.", "She pressed her cheek close to Tarzan's shoulder. Slowly she turned\nher head until her hot lips were pressed against his flesh. She loved", "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "The coming of Tarzan had aroused within La's breast the wild hope that\nat last the fulfillment of this ancient prophecy was at hand; but more", "\"Do not leave me!\" she cried. \"Stay, and you shall be High Priest. La\nloves you. All Opar shall be yours. Slaves shall wait upon you." ], [ "Achmet Zek was dragging Jane Clayton toward his tethered horse. His\ntwo men were hastily unfastening all three mounts. The woman,", "After Werper had arranged the dummy in his bed, and sneaked out into\nthe darkness of the village beneath the rear wall of his tent, he had\ngone directly to the hut in which Jane Clayton was held captive.", "Motioning for Chulk to follow him, he passed out of the tent by the\nsame way that he had entered it, and walking boldly through the\nvillage, made directly for the hut where Jane Clayton had been\nimprisoned.", "Jane Clayton could see both men plainly. She recognized Achmet Zek as\nthe leader of the band of ruffians who had raided her home and made her", "Calling aloud to those who tended the gates, Werper, grasping Jane\nClayton by the arm, walked boldly across the clearing. Those who", "And so, as Jane Clayton was pushed into her prison hut and her hands\nand feet securely bound, her natural protector roamed off toward the", "20\n\nJane Clayton Again a Prisoner", "inward and a dozen swarthy murderers leaped into the living-room. At\nthe far end stood Jane Clayton surrounded by the remnant of her devoted", "For some time the lion paced, growling and moaning, beneath the tree in\nwhich Jane Clayton crouched, panting and trembling. The girl was a", "Jane Clayton's escape had not yet been discovered when Achmet Zek and\nhis searchers set forth to overhaul Werper. The only man who had seen", "Jane Clayton saw the raiders lead the horses from the corral, and drive\nthe herds in from the fields. She saw her home plundered of all that", "To Jane Clayton, waiting in the tree where Werper had placed her, it\nseemed that the long night would never end, yet end it did at last, and", "It was well past midnight, and as yet Jane Clayton, notwithstanding\nthat she had passed a sleepless night the night before, had scarcely", "Apparently she was alone, but Achmet Zek waited that he might make sure\nof it before seizing her. Slowly Jane Clayton started across the", "The sentries, hearing the crashing of the roof poles, leaped to their\nfeet and rushed into the hut. Jane Clayton tried to roll aside as the", "For a moment Jane Clayton was overwhelmed with joy and thanksgiving;\nbut only for a moment. What good was her new-found liberty in the face", "Realizing that she could not again turn without attracting his\nimmediate and perhaps fatal attention, Jane Clayton resolved to risk\nall in one last attempt to reach the tree and clamber to the lower\nbranches.", "As he again faced Jane Clayton, Werper found himself animated by quite\ndifferent intentions than those which had lured him from his blankets\nbut a few minutes before. The excitement of his encounter with", "encompass his base designs upon the defenseless girl. By a strange\nprocess of reasoning, Werper, whose designs were identical with the\nArab's, pictured himself as Jane Clayton's protector, and presently", "Almost instantly Jane Clayton recognized the man as M. Jules Frecoult,\nwho so recently had been a guest in her home. She was upon the point" ], [ "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "\"Protect her,\" cried Tarzan to the other Oparians. \"Protect her so\nthat when Tarzan comes again he will find La there to greet him.\"", "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "At the edge of the desolate valley, overlooking the golden domes and\nminarets of Opar, Tarzan halted. By night he would go alone to the", "Tarzan and the Jewels of Opar\n\n\nBy\n\nEdgar Rice Burroughs", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "plain and escape. The jewels were in his possession. To remain longer\nwas to risk death at the hands of Tarzan, or the jaws of the hunter", "\"You will obey the commands of your queen,\" he said, \"and go back to\nOpar with her or Tarzan of the Apes will call together the other", "back. Werper recognized the party immediately as that which had\naccompanied Tarzan on his journey to Opar. He glanced at the ape-man;", "\"You are many against one,\" spoke up Tarzan. \"Why should you not have\nyour will? Go your way with La to Opar and if Cadj interferes slay\nhim.\"", "\"They cannot be far ahead of us,\" said Tarzan, \"Basuli and the others.\nThe gold is gone and the jewels of Opar, Jane; but we have each other", "Now they wished to continue upon their interrupted march; but Tarzan\npreferred to follow the Arabs and take the woman from them. After a\nconsiderable argument it was decided that they should first hunt toward", "forth from behind Opar's crumbling walls, yet their very numbers\nprotected them and so they came without fatalities far along the trail\nof Tarzan and Werper. Three great apes accompanied them and to these", "To remain was to court death. Tarzan seized Jane Clayton and lifted\nher to a broad shoulder. The blacks who had witnessed his advent", "dead. If you are not all fools you will let me go my way in peace and\nyou will return to Opar with La. I know not where the sacred knife is;", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "\"The jewels of Opar!\" cried Tarzan. \"But how did Werper come by them\nagain?\"\n\nNone could answer, for both Chulk and Werper were dead, and no other\nknew." ], [ "\"That is what I suspect,\" replied Tarzan; \"but whatever the cause, the\nfact remains that I have lost everything, and there is nothing for it\nbut to return to Opar and get more.\"", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "\"Protect her,\" cried Tarzan to the other Oparians. \"Protect her so\nthat when Tarzan comes again he will find La there to greet him.\"", "\"You will obey the commands of your queen,\" he said, \"and go back to\nOpar with her or Tarzan of the Apes will call together the other", "At the edge of the desolate valley, overlooking the golden domes and\nminarets of Opar, Tarzan halted. By night he would go alone to the", "Tarzan and the Jewels of Opar\n\n\nBy\n\nEdgar Rice Burroughs", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "\"You are many against one,\" spoke up Tarzan. \"Why should you not have\nyour will? Go your way with La to Opar and if Cadj interferes slay\nhim.\"", "\"There is no other way half so easy to obtain another fortune, as to go\nto the treasure vaults of Opar and bring it away,\" he replied. \"I", "back. Werper recognized the party immediately as that which had\naccompanied Tarzan on his journey to Opar. He glanced at the ape-man;", "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "\"The jewels of Opar!\" cried Tarzan. \"But how did Werper come by them\nagain?\"\n\nNone could answer, for both Chulk and Werper were dead, and no other\nknew.", "\"They cannot be far ahead of us,\" said Tarzan, \"Basuli and the others.\nThe gold is gone and the jewels of Opar, Jane; but we have each other", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "And so Tarzan of the Apes forged steadily ahead toward Opar's ruined\nramparts and behind him slunk Werper, jackal-like, and only God knew\nwhat lay in store for each.", "Never before had La passed beyond the crumbling outer walls of Opar;\nbut never before had need been so insistent. The sacred knife was", "You know. You have had something to do with all this. You followed me\nto Opar, you stole the jewels which I thought but pretty pebbles. You", "What purpose prompted the Belgian in leading the victim of his\ntreachery and greed back toward his former home it is difficult to\nguess, unless it was that without Tarzan there could be no ransom for\nTarzan's wife." ], [ "pure and undegraded in the females descended from a single princess of\nthe royal house of Atlantis who had been in Opar at the time of the\ngreat catastrophe. Such was La.", "from some long-dead progenitor of lost and forgotten Atlantis. The\nloss of the crown jewels or the Great Seal of England could have\nbrought no greater consternation to a British king than did the", "within the treasure chamber, where, ages since, long-dead hands had\nranged the lofty rows of precious ingots for the rulers of that great\ncontinent which now lies submerged beneath the waters of the Atlantic.", "\"I know where it is hid,\" said Werper. \"Promise, and I will lead you\nto it--if ten loads is enough?\"", "by the standards of prehistoric Atlantis alone, but by those of modern\ntimes was La physically a creature of perfection. Before Tarzan came", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "weird hymns in the ancient tongue of that lost continent that lies at\nthe bottom of the Atlantic. They knew not the meanings of the words\nthey mouthed; they but repeated the ritual that had been handed down", "Achmet Zek should know nothing of these--these would be for Werper\nalone, and so soon as he could encompass his design he would reach the", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "earth. When Atlantis, with all her mighty cities and her cultivated\nfields and her great commerce and culture and riches sank into the sea", "Behind him the spy waited for him to be gone. He had learned the\nsecret for which he had come, and now he could return at his leisure to", "\"If it is not there I will forfeit my life,\" replied the Belgian. \"I\nknow it is there, for I saw it buried with my own eyes. And", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "From a chance remark of the Abyssinian, Werper discovered the purpose\nof the expedition, and when he realized that these men were the enemies\nof Achmet Zek, he took heart, and immediately blamed his predicament\nupon the Arab.", "Once again, and, he thought, for the last time, he closed the massive\ndoor of the treasure room. In the darkness behind him Werper rose and", "defended their High Priestess and her altar; but evidently there were\ndeaths, and deaths. Some strange superstition must surround that", "these latter had been enemies who killed and robbed. And, too, these\nlegends always held forth the hope that some day that nameless\ncontinent from which their race had sprung, would rise once more out of", "slain them we may take our time to the treasure--none will disturb it\nwhere it lies, for we shall leave none alive who knows of its existence.", "\"There is no other way half so easy to obtain another fortune, as to go\nto the treasure vaults of Opar and bring it away,\" he replied. \"I", "vault, coming upon it by chance as he fled from the pits beneath the\ntemple, where he had been hidden by La, the High Priestess of the Sun\nWorshipers." ], [ "Lieutenant Albert Werper, terrified by contemplation of the fate which\nmight await him at Adis Abeba, cast about for some scheme of escape,", "And while she hoped, there came through the dark jungle another.\nTerrified by night and by day, came Albert Werper. A dozen times he", "To say that Albert Werper was terrified would be putting it mildly. He\nrealized that he not only had sacrificed his treasure; but his life as", "Werper bent his head in thought. Achmet Zek stood awaiting his reply.\nWhat good remained in Albert Werper revolted at the thought of selling", "Werper. He is a liar, a thief, and a murderer. He killed his captain\nin the Congo country and fled to the protection of Achmet Zek. He led", "them, are never entirely eradicated from his character, and though\nAlbert Werper had long since ceased to evidence the slightest claim to\neither the one or the other, the spontaneous acknowledgment of them", "Lightly, his fingers sought and found the bulk beneath the\nblankets--the bulk that should be Albert Werper. They traced out the", "coast and take passage for America, where he could conceal himself\nbeneath the veil of a new identity and enjoy to some measure the fruits\nof his theft. He had it all planned out, did Lieutenant Albert Werper,", "Lieutenant Albert Werper had only the prestige of the name he had\ndishonored to thank for his narrow escape from being cashiered. At", "Sleepless upon his blankets, Albert Werper let his evil mind dwell upon\nthe charms of the woman in the nearby tent. He had noted Mohammed", "Beneath him, as unconscious of his presence as were the Abyssinians\nbefore and behind him, rode Albert Werper, while the ape-man\nscrutinized the Belgian for some sign of the pouch which he had stolen.", "Though her clothes were torn and her hair disheveled, Albert Werper\nrealized that he never before had looked upon such a vision of", "They had reached their fortified camp, and there Achmet Zek awaited the\nreturn of his lieutenant, Albert Werper. During the long, rough", "his lieutenant only a pile of discarded clothing arranged in the form\nand semblance of a sleeping man--Albert Werper had fled.", "Falling back upon his European nationality, Werper assured Abdul Mourak\nthat he was a Frenchman, hunting in Africa, and that he had been\nattacked by strangers, his safari killed or scattered, and himself\nescaping only by a miracle.", "moment was to preserve his life. And so the agreement was reached and\nLieutenant Albert Werper became a member of the ivory and slave raiding\nband of the notorious Achmet Zek.", "In his guise of a French gentleman of leisure, Werper found little\ndifficulty in deceiving his host and in ingratiating himself with both", "So he had Lieutenant Albert Werper carried to his own tent, and there\nslaves administered wine and food in small quantities until at last the", "upon the silent form beneath the tell-tale blankets, Albert Werper\nheaved another sigh of relief--his plan had worked out even better than\nhe had dared hope.", "\"I am shocked,\" said Werper, in well-simulated sympathy; \"but I am not\nsurprised. That devil there,\" and he pointed toward the body of Achmet" ], [ "impenetrable darkness of the buried chamber, that it had known for the\ncountless ages since it had lain forgotten of man, Tarzan's mind\nreverted to that first occasion upon which he had entered the treasure", "the blow of a fragment of the roof, Tarzan staggered back against the\ndoor to the treasure room, his weight pushed it open and his body\nrolled inward upon the floor.", "As the last of the Waziri filed from the chamber, Tarzan turned back\nfor a last glimpse of the fabulous wealth upon which his two inroads", "Tarzan again made his way toward the treasure vault, knowing that in a\nfew hours his blacks would be with him, ready to bear away another", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "For some time Tarzan lay where he had fallen upon the floor of the\ntreasure chamber beneath the ruined walls of Opar. He lay as one dead;", "Tarzan followed the trail. On hands and knees, he crawled through the\nsmall aperture. Within the hut his nostrils were assailed by many", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "Tiring at last of this diversion, Tarzan took up his way along the\ncorridor which led upward from the jewel-room by a steep incline.", "Using the Arab as a weapon, Tarzan forced his way quickly to the\ndoorway, and a moment later was within the hut. A hasty examination", "Once again, and, he thought, for the last time, he closed the massive\ndoor of the treasure room. In the darkness behind him Werper rose and", "Again and again the weapon fell as Tarzan made his way slowly toward\nthe doorway. Werper pressed close behind, casting backward glances", "Tarzan placed a large palm over his treasure. He bared his fighting\nfangs, and growled. Werper withdrew his hand more quickly than he had", "plain and escape. The jewels were in his possession. To remain longer\nwas to risk death at the hands of Tarzan, or the jaws of the hunter", "Tarzan, entering the tent of Achmet Zek, searched the interior\nthoroughly. He tore the bed to pieces and scattered the contents of", "His eyes wandered to the object of his greed. They measured Tarzan's\ngiant frame, and rested upon the rounded muscles of his arms. It was", "It was at the moment that Tarzan turned from the closed door to pursue\nhis way to the outer world. The thing came without warning. One", "The warped things advanced and entered the shelter. They laid hands\nupon Tarzan and bore him forth, and as they chanted they kept time with", "of shattered rock. Once more he turned and re-entered the treasure\nvault. Taking the candle from its place he commenced a systematic\nsearch of the apartment, nor had he gone far before he discovered", "Tarzan was sure that there was another and more lovely world than that\nwhich was confined to the darkness of the four stone walls surrounding\nhim. He continued his search and at last found the doorway leading" ], [ "who had never known love. And so when love came to her it liberated\nall the pent passions of a thousand generations, transforming La into a", "\"Your answer!\" insisted La. \"What is your answer to the love of La of\nOpar?\"", "\"Build me a shelter!\" ordered La. \"We shall stop here tonight and\ntomorrow in the face of the Flaming God, La will offer up the heart of", "He felt La lean over him and he opened his eyes. He saw her white,\ndrawn face and he saw tears blinding her eyes. \"Tarzan, my Tarzan!\"", "their crooked bodies, swaying to and fro to the rhythm of their song of\nblood and death. Behind them came La, swaying too; but not in unison", "on La's part. She had grown to young womanhood a cold and heartless\ncreature, daughter of a thousand other cold, heartless, beautiful women", "\"Your La is safe,\" said the ape-man. \"Had she slain me she would now\nherself be dead and many more of you; but she spared me that I might", "And La? She fingered her knife and looked down upon her captive. She\nglared and muttered but she did not strike. \"Tonight!\" she thought.", "sometimes a sobbing maiden, generous and forgiving; at once a virgin\nand a wanton; but always--a woman. Such was La.", "him. The ape-man looked upon the menacing creatures which surrounded\nhim and snarled his defiance. He looked upon La and smiled. In the\nface of death he was unafraid.", "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "his back toward La. That was her answer! The High Priestess leaped to\nher feet. A hot flush of shame mantled her cheek and then she went\ndead white and stepped to the shelter's entrance.", "\"La will be there to greet thee,\" exclaimed the High Priestess, \"and La\nwill wait, longing, always longing, until you come again. Oh, tell me\nthat you will come!\"", "During the battle, La regained consciousness. Spellbound, she stood\nabove her victim watching the spectacle. It seemed incredible that a", "Priest whose heart was filled with jealous rage because La openly\nacknowledged her love for the stranger, when by the worldly customs of\ntheir cult she should have belonged to him. Seemingly there was to be", "In the darkness La stooped above him. In her hand was a sharp knife\nand in her mind the determination to initiate his torture without", "and frightful death. His punishment should be adequate to the\nimmensity of his crime. He had wrested the sacred knife from La; he", "Again the lord of the wilderness roared, turning his baleful gaze upon\nthe altar. La staggered forward, reeled, and fell across Werper in a\nswoon.", "\"Do not kill him,\" commanded La in cold tones. \"Bring the great\nTarmangani to me alive and unhurt. The vengeance is La's. Go; but", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La." ], [ "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "The coming of Tarzan had aroused within La's breast the wild hope that\nat last the fulfillment of this ancient prophecy was at hand; but more", "At first La closed her eyes and clung to Tarzan in terror, though she\nmade no outcry; but presently she gained sufficient courage to look", "Tarzan cheated the god of her fathers. At the thought La paused and\nknelt at his side. In her hand was a sharp knife. She placed its", "La laughed a bitter laugh, for in her heart she knew that Tarzan's sin\nwas greater than the purloining of the sacrificial knife of Opar; yet", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "would give La no pleasure--she looked for that in the contemplated\ndeath agonies of Tarzan. He should be tortured. His should be a slow", "\"I cannot love you, La,\" said Tarzan in a low voice. \"I do not know\nwhy, for you are very beautiful. I could not go back and live in", "beneath her lips La saw the perfect features of the forest god and into\nher woman's heart welled all the great love she had felt for Tarzan\nsince first she had seen him, and all the accumulated passion of the", "\"Protect her,\" cried Tarzan to the other Oparians. \"Protect her so\nthat when Tarzan comes again he will find La there to greet him.\"", "Tarzan turned again toward La.\n\n\"Why,\" he asked, \"would you have killed this man? Are you hungry?\"\n\nThe High Priestess cried out in disgust.", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La.", "The rest was but a repetition of what Tarzan and Jane Clayton had\npassed through. The priestesses came, and with them La, the High", "\"Love me, Tarzan!\" she cried. \"Love me, and you shall be saved.\"", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "His eyes wandered to the object of his greed. They measured Tarzan's\ngiant frame, and rested upon the rounded muscles of his arms. It was", "Tarzan was eyeing the man and the woman, a puzzled expression in his\neyes, but there was no faintest tinge of recognition. It was as though\nhe had discovered some new species of living creature and was marveling\nat his find.", "\"Priest,\" he said, \"La goes back to her temple under the protection of\nher priests and the threat of Tarzan of the Apes that whoever harms her", "She pressed her cheek close to Tarzan's shoulder. Slowly she turned\nher head until her hot lips were pressed against his flesh. She loved", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some" ], [ "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "La laughed a bitter laugh, for in her heart she knew that Tarzan's sin\nwas greater than the purloining of the sacrificial knife of Opar; yet", "At first La closed her eyes and clung to Tarzan in terror, though she\nmade no outcry; but presently she gained sufficient courage to look", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La.", "Tarzan cheated the god of her fathers. At the thought La paused and\nknelt at his side. In her hand was a sharp knife. She placed its", "\"I cannot love you, La,\" said Tarzan in a low voice. \"I do not know\nwhy, for you are very beautiful. I could not go back and live in", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "would give La no pleasure--she looked for that in the contemplated\ndeath agonies of Tarzan. He should be tortured. His should be a slow", "proposition. They did not wish to take La back and they did wish to\ncomplete the sacrifice of Tarzan to the Flaming God. At last the\nape-man became impatient.", "\"Love me, Tarzan!\" she cried. \"Love me, and you shall be saved.\"", "The rest was but a repetition of what Tarzan and Jane Clayton had\npassed through. The priestesses came, and with them La, the High", "beneath her lips La saw the perfect features of the forest god and into\nher woman's heart welled all the great love she had felt for Tarzan\nsince first she had seen him, and all the accumulated passion of the", "Tarzan turned again toward La.\n\n\"Why,\" he asked, \"would you have killed this man? Are you hungry?\"\n\nThe High Priestess cried out in disgust.", "The coming of Tarzan had aroused within La's breast the wild hope that\nat last the fulfillment of this ancient prophecy was at hand; but more", "He turned toward La. \"We are going now,\" he said.\n\nThe woman rushed forward and seized the ape-man's hands in hers.", "Tarzan, her Tarzan, lived! A cry of unspeakable gladness broke from\nher lips, only to die in terror as she saw the utter defenselessness of", "And in the shelter of the hut, La paced to and fro beside the stoic\nape-man. Resigned to his fate was Tarzan. No hope of succor gleamed", "She pressed her cheek close to Tarzan's shoulder. Slowly she turned\nher head until her hot lips were pressed against his flesh. She loved", "When the shelter was completed La had Tarzan transferred to it. \"All\nnight I shall torture him,\" she muttered to her priests, \"and at the", "For a moment La stood looking after him, then her head drooped, a sigh\nescaped her lips and like an old woman she took up the march toward\ndistant Opar." ], [ "For a moment Jane Clayton was overwhelmed with joy and thanksgiving;\nbut only for a moment. What good was her new-found liberty in the face", "To Jane Clayton, waiting in the tree where Werper had placed her, it\nseemed that the long night would never end, yet end it did at last, and", "And so, as Jane Clayton was pushed into her prison hut and her hands\nand feet securely bound, her natural protector roamed off toward the", "It was well past midnight, and as yet Jane Clayton, notwithstanding\nthat she had passed a sleepless night the night before, had scarcely", "\"God!\" he cried, and then, \"Jane!\" Suddenly he turned toward Werper.\n\"My wife?\" he asked. \"What has become of her? The farm is in ruins.", "So hopeless had seemed her situation to her that Jane Clayton but stood\nin lethargic apathy awaiting the impact of the huge body that would", "It was upon this scene that Jane Clayton at last opened her eyes.\nInured to danger, she maintained her self-possession in the face of the", "wiped out by the torches and bullets and hatred of these hideous and\ndegenerate men. With a stifled sob, and a little shudder, Jane Clayton", "In the instant that the lion sank, lifeless, to the ground, Jane\nClayton threw herself into the eager arms of her husband. For a brief", "Realizing that she could not again turn without attracting his\nimmediate and perhaps fatal attention, Jane Clayton resolved to risk\nall in one last attempt to reach the tree and clamber to the lower\nbranches.", "And Jane Clayton breathed a fervent, \"Amen!\"", "As he again faced Jane Clayton, Werper found himself animated by quite\ndifferent intentions than those which had lured him from his blankets\nbut a few minutes before. The excitement of his encounter with", "The sentries, hearing the crashing of the roof poles, leaped to their\nfeet and rushed into the hut. Jane Clayton tried to roll aside as the", "Jane Clayton was again confined to the prison hut she had formerly\noccupied, but as she realized that this was but a part of the deception", "For some time the lion paced, growling and moaning, beneath the tree in\nwhich Jane Clayton crouched, panting and trembling. The girl was a", "A few miles south of him, Jane Clayton lay panting among the branches\nof a tree in which she had taken refuge from a prowling and hungry\nlioness.", "As he stood apparently listening to the retreating footsteps--Jane\nClayton approached him.", "Early the next morning Jane Clayton, after an almost sleepless night,\nwas aroused by the sound of voices outside her prison, and a moment", "her right hand in a grasp so sudden and so fierce that his brutal\npassion was revealed as clearly in the act as though his lips had\nconfessed it in words. Jane Clayton wrenched herself from his grasp.", "20\n\nJane Clayton Again a Prisoner" ], [ "Achmet Zek was dragging Jane Clayton toward his tethered horse. His\ntwo men were hastily unfastening all three mounts. The woman,", "After Werper had arranged the dummy in his bed, and sneaked out into\nthe darkness of the village beneath the rear wall of his tent, he had\ngone directly to the hut in which Jane Clayton was held captive.", "Jane Clayton could see both men plainly. She recognized Achmet Zek as\nthe leader of the band of ruffians who had raided her home and made her", "Motioning for Chulk to follow him, he passed out of the tent by the\nsame way that he had entered it, and walking boldly through the\nvillage, made directly for the hut where Jane Clayton had been\nimprisoned.", "Calling aloud to those who tended the gates, Werper, grasping Jane\nClayton by the arm, walked boldly across the clearing. Those who", "And so, as Jane Clayton was pushed into her prison hut and her hands\nand feet securely bound, her natural protector roamed off toward the", "20\n\nJane Clayton Again a Prisoner", "Jane Clayton's escape had not yet been discovered when Achmet Zek and\nhis searchers set forth to overhaul Werper. The only man who had seen", "inward and a dozen swarthy murderers leaped into the living-room. At\nthe far end stood Jane Clayton surrounded by the remnant of her devoted", "Jane Clayton saw the raiders lead the horses from the corral, and drive\nthe herds in from the fields. She saw her home plundered of all that", "To Jane Clayton, waiting in the tree where Werper had placed her, it\nseemed that the long night would never end, yet end it did at last, and", "For some time the lion paced, growling and moaning, beneath the tree in\nwhich Jane Clayton crouched, panting and trembling. The girl was a", "Almost instantly Jane Clayton recognized the man as M. Jules Frecoult,\nwho so recently had been a guest in her home. She was upon the point", "It was well past midnight, and as yet Jane Clayton, notwithstanding\nthat she had passed a sleepless night the night before, had scarcely", "Apparently she was alone, but Achmet Zek waited that he might make sure\nof it before seizing her. Slowly Jane Clayton started across the", "\"God!\" he cried, and then, \"Jane!\" Suddenly he turned toward Werper.\n\"My wife?\" he asked. \"What has become of her? The farm is in ruins.", "her right hand in a grasp so sudden and so fierce that his brutal\npassion was revealed as clearly in the act as though his lips had\nconfessed it in words. Jane Clayton wrenched herself from his grasp.", "For a moment Jane Clayton was overwhelmed with joy and thanksgiving;\nbut only for a moment. What good was her new-found liberty in the face", "As he again faced Jane Clayton, Werper found himself animated by quite\ndifferent intentions than those which had lured him from his blankets\nbut a few minutes before. The excitement of his encounter with", "Realizing that she could not again turn without attracting his\nimmediate and perhaps fatal attention, Jane Clayton resolved to risk\nall in one last attempt to reach the tree and clamber to the lower\nbranches." ], [ "The victorious raiders collected about the pile of golden ingots which\nthe Abyssinians had uncovered, and there awaited the return of their", "\"I know where it is hid,\" said Werper. \"Promise, and I will lead you\nto it--if ten loads is enough?\"", "the very spot upon which the pile of gold had been unearthed by the\nAbyssinians; but the surroundings were vastly different from those\nwhich now obtained.", "husband, Werper neither knew nor cared. It was enough that the golden\ntreasure buried upon the site of the burned bungalow was infinitely\nmore valuable than any ransom that would have occurred even to the", "\"The gold will be safe here,\" cried one. \"We have killed the\nAbyssinians and there are no others to carry it away. Let us ride in\nsearch of Achmet Zek!\"", "Slowly the little mound of loose earth rose and parted. An instant\nlater a corner of the pouch came into view. Werper pulled it from its", "It must have been at about the same instant that Achmet Zek discovered\nthe pile of yellow ingots and realized the actuality of what he had", "\"Well, and if I promise,\" he said. \"How far is this gold?\"\n\n\"A long week's march to the south,\" replied Werper.", "The Belgian's eyes went wide as they passed through the room of the\nseven pillars of solid gold. With ill-concealed avarice he looked upon", "hands scraping dirt, and later patting it down. He knew then that the\njewels were buried.", "had excavated a little cavity a few inches in diameter, and five or six\ninches in depth. Into this he placed the pouch of jewels. Werper", "seeing or hearing nothing of the Englishman, he crept from his place of\nconcealment to undertake a systematic search of his surroundings, in\nthe hope that he might discover the location of the treasure in ample", "\"It is Achmet Zek and his raiders,\" he whispered. \"They are come for\nthe gold.\"", "fingers. They saw them lay their yellow burdens in it and scoop the\noverturned earth back over the tops of the ingots.", "his waiting followers, bring them to the treasure vault and carry away\nall the gold that they could stagger under.", "Achmet Zek thought for a moment. The buried gold was of much greater\nvalue than the price the woman would bring. It was necessary to rid", "friend of mine who is always in touch with the best markets for such\nmerchandise, while I return for the gold. We can meet again here when\nour business is concluded.\"", "stepped quickly to the dead man's side, and, kneeling, sought with\nquick fingers the pouch of jewels. To his consternation, there was no", "At last he opened the leathern pouch which hung at his side. From it\nhe poured into the palm of his hand a quantity of glittering gems. The", "\"Who will go north with the woman,\" he asked, \"while we are returning\nfor the gold that the Waziri buried by the bungalow of the Englishman?\"" ], [ "\"Bring him to the place at which we stopped,\" she commanded and they\ncarried Tarzan back to the little clearing and threw him down beneath a\ntree.", "Tarzan, that it is for me you have returned.\"", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "Tarzan, her Tarzan, lived! A cry of unspeakable gladness broke from\nher lips, only to die in terror as she saw the utter defenselessness of", "Then Tarzan led them back through the jungle to the trail, where the\nthree hid themselves and waited. Nor had they long to wait before two", "When all had passed, Tarzan rose and emerged from concealment. He\nlooked down the trail in the direction the party had gone. Then he\nturned to Werper.", "I am Tarzan of the Apes. I have been away; but now I have come back to\nmy people.\"", "the man he had been trailing. Tarzan returned to the tree. With keen\neyes he searched the ground about the mutilated corpse for a sign of", "A hundred yards from where he stood grew a large tree, alone upon the\nedge of the reedy jungle. Tarzan made his way to it, clambered into", "Even as Tarzan opened his eyes he was upon his feet, his spear grasped\nfirmly in his hand and ready for attack. Again was he Tarzan of the\nApes, sentient, vigilant, ready.", "It was long after darkness had fallen, that Tarzan led his companions\nfrom their hiding place in the tree to the ground and around the\npalisade to the far side of the village.", "There came, however, an interruption which put an end to the deadlock\nand it came from Tarzan's rear. He and the lions had been making so", "Satisfied, Tarzan turned and retraced his steps toward the summit of\nthe kopje. Werper, from the concealment of a jutting, granite", "\"Yes,\" spoke up an old ape, \"he is Tarzan. I know him. It is well\nthat he has come back. Now we shall have good hunting.\"", "And so it was that as Tarzan, stripped to the loin cloth and armed\nafter the primitive fashion he best loved, led his loyal Waziri toward", "It was many marches from Opar to the Waziri country; but at last came\nthe hour when Tarzan and the Belgian, following the trail of the", "the east for a few days and then return and search for the Arabs, and\nas time is of little moment to the ape folk, Tarzan acceded to their", "These two, then, were to be Tarzan's companions upon his return to the\nvillage of Achmet Zek. As they set off, the balance of the tribe", "When he could no longer hear any sound of them, he turned to the right\nand rode into the forest toward the tree where he had hidden Lady\nGreystoke, and drawing rein beneath it, called up in a gay and hopeful\nvoice a pleasant, \"Good morning!\"", "Tarzan followed the trail. On hands and knees, he crawled through the\nsmall aperture. Within the hut his nostrils were assailed by many" ], [ "earth. When Atlantis, with all her mighty cities and her cultivated\nfields and her great commerce and culture and riches sank into the sea", "by the standards of prehistoric Atlantis alone, but by those of modern\ntimes was La physically a creature of perfection. Before Tarzan came", "from some long-dead progenitor of lost and forgotten Atlantis. The\nloss of the crown jewels or the Great Seal of England could have\nbrought no greater consternation to a British king than did the", "these latter had been enemies who killed and robbed. And, too, these\nlegends always held forth the hope that some day that nameless\ncontinent from which their race had sprung, would rise once more out of", "pure and undegraded in the females descended from a single princess of\nthe royal house of Atlantis who had been in Opar at the time of the\ngreat catastrophe. Such was La.", "within the treasure chamber, where, ages since, long-dead hands had\nranged the lofty rows of precious ingots for the rulers of that great\ncontinent which now lies submerged beneath the waters of the Atlantic.", "weird hymns in the ancient tongue of that lost continent that lies at\nthe bottom of the Atlantic. They knew not the meanings of the words\nthey mouthed; they but repeated the ritual that had been handed down", "And then, in the span of a few brief seconds, the hopes of both these\nmen were shattered. The one forgot even his greed in the panic of", "Gropingly backward into the past reached the fingers of memory, until\nat last they seized upon a faint picture, faded and yellow with the\npassing years. It was the picture of a lithe, white-skinned youth", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "long ages since, she took with her all but a handful of her colonists\nworking the vast gold mines of Central Africa. From these and their\ndegraded slaves and a later intermixture of the blood of the", "A deep sigh from the cavernous lungs dispelled the illusion. The\nmighty head swung slowly around until the yellow eyes rested upon the", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "by the Oparians. Among the legends of Opar were tales of godlike men\nof the olden time and of black men who had come more recently; but", "For hours the frenzy of her passion possessed the burning hand-maiden\nof the Flaming God, until at last sleep overpowered her and she lapsed\ninto unconsciousness beside the man she had sworn to torture and to", "trampled by the feet of horses and men, gave no clew. It was as though\nthe ingots had evaporated into thin air.", "were the stories of their various adventures retold. Again and once\nagain they fought their battles with savage beast and savage man, and\ndawn was already breaking when Basuli, for the fortieth time, narrated", "anthropoids sprung the gnarled men of Opar; but by some queer freak of\nfate, aided by natural selection, the old Atlantean strain had remained", "As he stood there measuring the distance to the opposite side and\nwondering if he dared venture so great a leap, there broke suddenly\nupon his startled ears a piercing scream which diminished gradually", "His earnest cogitation was rudely interrupted by a thunderous roar from\nthe opening above him. Following the roar came the cries and screams" ], [ "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "\"There is no other way half so easy to obtain another fortune, as to go\nto the treasure vaults of Opar and bring it away,\" he replied. \"I", "fortune in the strangely shaped, golden ingots of Opar. In the\nmeantime he would carry as much of the precious metal to the summit of\nthe kopje as he could.", "\"The jewels of Opar!\" he cried, holding the pouch aloft, \"and,\"\npointing to the bones at his feet, \"all that remains of Werper, the\nBelgian.\"", "\"The jewels of Opar!\" cried Tarzan. \"But how did Werper come by them\nagain?\"\n\nNone could answer, for both Chulk and Werper were dead, and no other\nknew.", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "dead. If you are not all fools you will let me go my way in peace and\nyou will return to Opar with La. I know not where the sacred knife is;", "Mugambi laughed. \"Look within, Bwana,\" he cried, \"and you will see\nwhat are the jewels of Opar--you will see what the Belgian gave his\nlife for,\" and the black laughed aloud.", "You know. You have had something to do with all this. You followed me\nto Opar, you stole the jewels which I thought but pretty pebbles. You", "The instant that the jewels of Opar rolled, scintillating, before his\nastonished eyes, he recognized them for what they were; but he", "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "\"Cadj, the High Priest,\" he announced, \"would sacrifice you both to the\nFlaming God; but all of us except Cadj would gladly return to Opar with\nour queen.\"", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "At the edge of the desolate valley, overlooking the golden domes and\nminarets of Opar, Tarzan halted. By night he would go alone to the", "\"They cannot be far ahead of us,\" said Tarzan, \"Basuli and the others.\nThe gold is gone and the jewels of Opar, Jane; but we have each other", "shall be very careful, Jane, and the chances are that the inhabitants\nof Opar will never know that I have been there again and despoiled them\nof another portion of the treasure, the very existence of which they", "Months had passed. The labor of the Waziri and the gold of Opar had\nrebuilt and refurnished the wasted homestead of the Greystokes. Once", "trees to her side and allowed the gold of Opar to remain forever hidden\nin its forgotten storehouse.", "by the Oparians. Among the legends of Opar were tales of godlike men\nof the olden time and of black men who had come more recently; but", "contained the jewels of Opar, Werper was positive, and that was all\nthat interested him greatly." ], [ "was a victim. The man had lost his memory--no longer could he\nrecollect past events. The Belgian was upon the point of enlightening\nhim, when it suddenly occurred to him that by keeping Tarzan in", "transformation that had been wrought in Tarzan by the blow upon his\nhead, other than to attribute it to a form of amnesia. That Tarzan had", "Tarzan had no idea, in so far as Werper could discover, as to where he\nwas or whence he came. He wandered aimlessly about, searching for", "Tarzan shook his head and sighed. Why was it that he could not\nrecollect? At least he was sure that in some way the pile of gold, the", "Tarzan was the first to regain consciousness. Sitting up, he looked\nabout him. Blood was flowing from a wound in his shoulder. The shock", "Tarzan was eyeing the man and the woman, a puzzled expression in his\neyes, but there was no faintest tinge of recognition. It was as though\nhe had discovered some new species of living creature and was marveling\nat his find.", "Through the trees raced Tarzan of the Apes until the darkness of night\nhad settled upon the jungle, then he lay down and slept, with no\nthought beyond the morrow and with even La but the shadow of a memory\nwithin his consciousness.", "Everything seemed to elude him--the pretty pebbles, the yellow metal,\nthe she, his memory. Tarzan was disgusted. He would go back into the", "Tarzan looked out across the familiar vista with no faintest gleam of\nrecognition in his eyes. He saw the game animals, and his mouth", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "and it was several minutes after they had halted at Tarzan's command\nbefore he came slowly up to them, reeling from side to side, and at\nlast falling again beneath the weight of his burden and the shock of", "\"Bring him to the place at which we stopped,\" she commanded and they\ncarried Tarzan back to the little clearing and threw him down beneath a\ntree.", "\"Tarzan,\" he repeated, musingly. \"Tarzan. The name sounds familiar.\"\n\n\"It is your name--you are Tarzan,\" cried La.", "Tarzan slept on. Where were those uncanny, guardian powers that had\nformerly rendered him immune from the dangers of surprise? Could this\ndull sleeper be the alert, sensitive Tarzan of old?", "Even as Tarzan opened his eyes he was upon his feet, his spear grasped\nfirmly in his hand and ready for attack. Again was he Tarzan of the\nApes, sentient, vigilant, ready.", "memory. You are John Clayton, Lord Greystoke--don't you remember?\"", "Without effort, and apparently without realizing that he made the\nchange, Tarzan repeated his question in French. Werper suddenly came\nto a full realization of the magnitude of the injury of which Tarzan", "22\n\nTarzan Recovers His Reason", "\"I do not know,\" replied Tarzan. \"The man took it with him when he\nslipped away during the night. Since you are so desirous for its", "And so it was that as Tarzan, stripped to the loin cloth and armed\nafter the primitive fashion he best loved, led his loyal Waziri toward" ], [ "\"Bring him to the place at which we stopped,\" she commanded and they\ncarried Tarzan back to the little clearing and threw him down beneath a\ntree.", "Tarzan was the first to regain consciousness. Sitting up, he looked\nabout him. Blood was flowing from a wound in his shoulder. The shock", "It was at the moment that Tarzan turned from the closed door to pursue\nhis way to the outer world. The thing came without warning. One", "transformation that had been wrought in Tarzan by the blow upon his\nhead, other than to attribute it to a form of amnesia. That Tarzan had", "A hundred yards from where he stood grew a large tree, alone upon the\nedge of the reedy jungle. Tarzan made his way to it, clambered into", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "It was long after darkness had fallen, that Tarzan led his companions\nfrom their hiding place in the tree to the ground and around the\npalisade to the far side of the village.", "Even as Tarzan opened his eyes he was upon his feet, his spear grasped\nfirmly in his hand and ready for attack. Again was he Tarzan of the\nApes, sentient, vigilant, ready.", "Tarzan had no idea, in so far as Werper could discover, as to where he\nwas or whence he came. He wandered aimlessly about, searching for", "and it was several minutes after they had halted at Tarzan's command\nbefore he came slowly up to them, reeling from side to side, and at\nlast falling again beneath the weight of his burden and the shock of", "much noise that neither could hear anything above their concerted\nbedlam, and so it was that Tarzan did not hear the great bulk bearing\ndown upon him from behind until an instant before it was upon him, and", "The first intimation of danger that came to Tarzan was the impact of\nthree bodies as the three apes leaped upon him and hurled him to the", "Immediately Tarzan was alert. He lifted his head and sniffed the slow,\njungle breeze. What was it that had attracted Numa's attention and", "Again Tarzan loosed a swift bolt. This time the missile, aimed with\ncare, lodged in the lion's spine. The great creature halted in its", "Step by step the Arab beat back his adversary until the latter's horse\nall but trod upon the ape-man, and then a vicious cut clove the black\nwarrior's skull, and the corpse toppled backward almost upon Tarzan.", "And so it was that as Tarzan, stripped to the loin cloth and armed\nafter the primitive fashion he best loved, led his loyal Waziri toward", "Tarzan shook his head and sighed. Why was it that he could not\nrecollect? At least he was sure that in some way the pile of gold, the", "For some time Tarzan lay where he had fallen upon the floor of the\ntreasure chamber beneath the ruined walls of Opar. He lay as one dead;", "was a victim. The man had lost his memory--no longer could he\nrecollect past events. The Belgian was upon the point of enlightening\nhim, when it suddenly occurred to him that by keeping Tarzan in", "Tarzan looked out across the familiar vista with no faintest gleam of\nrecognition in his eyes. He saw the game animals, and his mouth" ], [ "\"Cadj, the High Priest,\" he announced, \"would sacrifice you both to the\nFlaming God; but all of us except Cadj would gladly return to Opar with\nour queen.\"", "They were the priests of the Flaming God of Opar--the same, shaggy,\nknotted, hideous little men who had dragged Jane Clayton to the", "saved his priestess from love-mad Tantor. Will you go back to Opar\nwith La, promising that no harm shall befall her?\"", "by the Oparians. Among the legends of Opar were tales of godlike men\nof the olden time and of black men who had come more recently; but", "of holies; who had taken from the blood-stained altar of Opar the\noffering to the Flaming God--and not once but thrice. Three times had", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her.", "\"The jewels of Opar!\" he cried, holding the pouch aloft, \"and,\"\npointing to the bones at his feet, \"all that remains of Werper, the\nBelgian.\"", "Unwittingly, the ape-man had stumbled upon the forgotten jewel-room of\nOpar. For ages it had lain buried beneath the temple of the Flaming", "was La of Opar, High Priestess of the Flaming God, and fifty of her\nhorrid priests searching for the purloiner of the sacred sacrificial\nknife.", "\"You will need this,\" he said, and then from each doorway a horde of\nthe monstrous, little men of Opar streamed into the temple.", "\"You will obey the commands of your queen,\" he said, \"and go back to\nOpar with her or Tarzan of the Apes will call together the other", "5 The Altar of the Flaming God\n 6 The Arab Raid\n 7 The Jewel-Room of Opar\n 8 The Escape from Opar", "\"There is no other way half so easy to obtain another fortune, as to go\nto the treasure vaults of Opar and bring it away,\" he replied. \"I", "\"Do not leave me!\" she cried. \"Stay, and you shall be High Priest. La\nloves you. All Opar shall be yours. Slaves shall wait upon you.", "Mugambi laughed. \"Look within, Bwana,\" he cried, \"and you will see\nwhat are the jewels of Opar--you will see what the Belgian gave his\nlife for,\" and the black laughed aloud.", "The two searched for nearly an hour before they found the narrow exit\nthrough the inner wall. From there the well-worn trail led them beyond\nthe outer fortification to the desolate valley of Opar.", "with pitch, lay it in the form and size of the altar at Opar in the\ncenter of the clearing that the Flaming God may look down upon our\nhandiwork and be pleased.\"", "The priests of Opar welcomed this suggestion with loud cries of\napproval. To them it appeared nothing short of divine inspiration.\nThe influence of ages of unquestioning obedience to high priests had", "dead. If you are not all fools you will let me go my way in peace and\nyou will return to Opar with La. I know not where the sacred knife is;", "And so Tarzan of the Apes forged steadily ahead toward Opar's ruined\nramparts and behind him slunk Werper, jackal-like, and only God knew\nwhat lay in store for each." ], [ "Tarzan cheated the god of her fathers. At the thought La paused and\nknelt at his side. In her hand was a sharp knife. She placed its", "La laughed a bitter laugh, for in her heart she knew that Tarzan's sin\nwas greater than the purloining of the sacrificial knife of Opar; yet", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La.", "Tarzan turned again toward La.\n\n\"Why,\" he asked, \"would you have killed this man? Are you hungry?\"\n\nThe High Priestess cried out in disgust.", "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "proposition. They did not wish to take La back and they did wish to\ncomplete the sacrifice of Tarzan to the Flaming God. At last the\nape-man became impatient.", "At first La closed her eyes and clung to Tarzan in terror, though she\nmade no outcry; but presently she gained sufficient courage to look", "When the shelter was completed La had Tarzan transferred to it. \"All\nnight I shall torture him,\" she muttered to her priests, \"and at the", "save her. Go your way with her back to Opar, and Tarzan will go his\nway into the jungle. Let there be peace always between Tarzan and La.\nWhat is your answer?\"", "would give La no pleasure--she looked for that in the contemplated\ndeath agonies of Tarzan. He should be tortured. His should be a slow", "The coming of Tarzan had aroused within La's breast the wild hope that\nat last the fulfillment of this ancient prophecy was at hand; but more", "him. The ape-man looked upon the menacing creatures which surrounded\nhim and snarled his defiance. He looked upon La and smiled. In the\nface of death he was unafraid.", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "And there the two lay, alternately firing at and cursing each other,\nwhile from behind the Arab, Tarzan of the Apes approached to the edge", "the ground. The priests screamed out their rage and disappointment.\nHe with the torch took a menacing step toward La and the ape-man.", "moment Tarzan seemed inclined to pursue the argument. He swaggered\ntruculently, stuck out his chest, roared and advanced closer to the", "The priests grumbled and shook their heads. They spoke together and La\nand Tarzan could see that they were not favorably inclined toward the", "\"Priest,\" he said, \"La goes back to her temple under the protection of\nher priests and the threat of Tarzan of the Apes that whoever harms her", "\"Bring him to the place at which we stopped,\" she commanded and they\ncarried Tarzan back to the little clearing and threw him down beneath a\ntree.", "Nor had they long to wait before they saw him emerge from a leafy\nthicket and approach them. Straight to La he came and in the language\nof the great apes which was also the language of decadent Opar he\naddressed her." ], [ "For a moment La stood looking after him, then her head drooped, a sigh\nescaped her lips and like an old woman she took up the march toward\ndistant Opar.", "his back toward La. That was her answer! The High Priestess leaped to\nher feet. A hot flush of shame mantled her cheek and then she went\ndead white and stepped to the shelter's entrance.", "brows contracted in a savage scowl. \"You refuse La!\" she cried. \"Then\ndie! The torch!\" she commanded, turning toward the priest.", "He turned toward La. \"We are going now,\" he said.\n\nThe woman rushed forward and seized the ape-man's hands in hers.", "who had never known love. And so when love came to her it liberated\nall the pent passions of a thousand generations, transforming La into a", "He felt La lean over him and he opened his eyes. He saw her white,\ndrawn face and he saw tears blinding her eyes. \"Tarzan, my Tarzan!\"", "and then La, the woman, collapsed weakly upon the body of the man she\nloved.", "\"La will be there to greet thee,\" exclaimed the High Priestess, \"and La\nwill wait, longing, always longing, until you come again. Oh, tell me\nthat you will come!\"", "turned back into her tent and sought the pile of unclean blankets which\nwere her bed. Throwing herself face downward upon them she sobbed", "\"Stay, you shall!\" she screamed. \"La will have you--if she cannot have\nyou alive, she will have you dead,\" and raising her face to the sun she", "on La's part. She had grown to young womanhood a cold and heartless\ncreature, daughter of a thousand other cold, heartless, beautiful women", "Priest whose heart was filled with jealous rage because La openly\nacknowledged her love for the stranger, when by the worldly customs of\ntheir cult she should have belonged to him. Seemingly there was to be", "die; but he had scorned the love of La, the woman, and for this he\nshould die horribly with great anguish.", "\"Your answer!\" insisted La. \"What is your answer to the love of La of\nOpar?\"", "heart at the feet of the godlike ape-man and twice had she been\nrepulsed. La knew that she was beautiful--and she was beautiful, not", "of its final collapse, he swung to the branches of a lesser neighbor.\nIt was a long and perilous leap. La closed her eyes and shuddered; but", "Tarzan dropped to the ground and La slipped to her feet from his back.\n\"Call your people together,\" said Tarzan.\n\n\"They will kill me,\" replied La.", "her Tarzan. She has taken no mate, for in all the world there was but\none with whom La would mate. And now you have come back! Tell me, O", "Again the lord of the wilderness roared, turning his baleful gaze upon\nthe altar. La staggered forward, reeled, and fell across Werper in a\nswoon.", "their crooked bodies, swaying to and fro to the rhythm of their song of\nblood and death. Behind them came La, swaying too; but not in unison" ], [ "Achmet Zek was dragging Jane Clayton toward his tethered horse. His\ntwo men were hastily unfastening all three mounts. The woman,", "And so, as Jane Clayton was pushed into her prison hut and her hands\nand feet securely bound, her natural protector roamed off toward the", "Motioning for Chulk to follow him, he passed out of the tent by the\nsame way that he had entered it, and walking boldly through the\nvillage, made directly for the hut where Jane Clayton had been\nimprisoned.", "Jane Clayton could see both men plainly. She recognized Achmet Zek as\nthe leader of the band of ruffians who had raided her home and made her", "After Werper had arranged the dummy in his bed, and sneaked out into\nthe darkness of the village beneath the rear wall of his tent, he had\ngone directly to the hut in which Jane Clayton was held captive.", "Calling aloud to those who tended the gates, Werper, grasping Jane\nClayton by the arm, walked boldly across the clearing. Those who", "20\n\nJane Clayton Again a Prisoner", "For some time the lion paced, growling and moaning, beneath the tree in\nwhich Jane Clayton crouched, panting and trembling. The girl was a", "It was well past midnight, and as yet Jane Clayton, notwithstanding\nthat she had passed a sleepless night the night before, had scarcely", "inward and a dozen swarthy murderers leaped into the living-room. At\nthe far end stood Jane Clayton surrounded by the remnant of her devoted", "Almost instantly Jane Clayton recognized the man as M. Jules Frecoult,\nwho so recently had been a guest in her home. She was upon the point", "her right hand in a grasp so sudden and so fierce that his brutal\npassion was revealed as clearly in the act as though his lips had\nconfessed it in words. Jane Clayton wrenched herself from his grasp.", "For a moment Jane Clayton was overwhelmed with joy and thanksgiving;\nbut only for a moment. What good was her new-found liberty in the face", "Apparently she was alone, but Achmet Zek waited that he might make sure\nof it before seizing her. Slowly Jane Clayton started across the", "\"Do you know,\" he asked leaning toward her, \"where this man would take\nyou?\"\n\nJane Clayton nodded affirmatively.\n\n\"And you are willing to become the plaything of a black sultan?\"", "Jane Clayton's escape had not yet been discovered when Achmet Zek and\nhis searchers set forth to overhaul Werper. The only man who had seen", "\"God!\" he cried, and then, \"Jane!\" Suddenly he turned toward Werper.\n\"My wife?\" he asked. \"What has become of her? The farm is in ruins.", "Realizing that she could not again turn without attracting his\nimmediate and perhaps fatal attention, Jane Clayton resolved to risk\nall in one last attempt to reach the tree and clamber to the lower\nbranches.", "As he again faced Jane Clayton, Werper found himself animated by quite\ndifferent intentions than those which had lured him from his blankets\nbut a few minutes before. The excitement of his encounter with", "Jane Clayton saw the raiders lead the horses from the corral, and drive\nthe herds in from the fields. She saw her home plundered of all that" ], [ "\"The jewels of Opar!\" cried Tarzan. \"But how did Werper come by them\nagain?\"\n\nNone could answer, for both Chulk and Werper were dead, and no other\nknew.", "Tarzan had been thinking. He had seen the Waziri bury their\nbelongings. Werper had told him that they were hiding them lest some", "contained the jewels of Opar, Werper was positive, and that was all\nthat interested him greatly.", "Werper was relieved to find that Tarzan had no conception of the value\nof the gems. This would make it easier for the Belgian to obtain", "Once outside the temple court, Werper communicated his discovery to\nTarzan. The ape-man grinned, and let Werper go before him, brandishing", "And so Tarzan of the Apes forged steadily ahead toward Opar's ruined\nramparts and behind him slunk Werper, jackal-like, and only God knew\nwhat lay in store for each.", "\"The jewels of Opar!\" he cried, holding the pouch aloft, \"and,\"\npointing to the bones at his feet, \"all that remains of Werper, the\nBelgian.\"", "When all had passed, Tarzan rose and emerged from concealment. He\nlooked down the trail in the direction the party had gone. Then he\nturned to Werper.", "possession of them. Possibly the man would give them to him for the\nasking. Werper reached out his hand toward the little pile that Tarzan\nhad arranged upon a piece of flat wood before him.", "one find them and take them away. This seemed to Tarzan a splendid\nplan for safeguarding valuables. Since Werper had evinced a desire to", "He recalled the black men who had buried them. The things must be\ntheirs. Werper was stealing them as he had stolen Tarzan's pouch of", "forth from behind Opar's crumbling walls, yet their very numbers\nprotected them and so they came without fatalities far along the trail\nof Tarzan and Werper. Three great apes accompanied them and to these", "Tarzan understood, though Werper did not. The former glanced at the\nBelgian and saw that he was unarmed. Stepping quickly to La's side the", "back. Werper recognized the party immediately as that which had\naccompanied Tarzan on his journey to Opar. He glanced at the ape-man;", "Quiet had fallen early upon the camp where Tarzan and Werper lay\nsecurely bound. Two nervous sentries paced their beats, their eyes", "Werper struggled to free himself. \"My God, Lord Greystoke,\" he managed\nto scream, \"would you commit murder for a handful of stones?\"", "It was an hour before Werper moved again, then he rolled over facing\nTarzan and opened his eyes. The ape-man slept. By reaching out his\nhand Werper could touch the spot where the pouch was buried.", "Well, if that was the sort of creature Werper was, Tarzan wished\nnothing more of him. He had gone, and for all the ape-man cared, he", "Again and again the weapon fell as Tarzan made his way slowly toward\nthe doorway. Werper pressed close behind, casting backward glances", "The ape-man pushed the kneeling woman aside. \"Tarzan does not desire\nyou,\" he said, simply, and stepping to Werper's side he cut the\nBelgian's bonds and motioned him to follow." ] ]

[ "Who returns to Opar in order to make good on some financial issues?", "How long ago did Atlantis sank?", "Who secretly follows Tarzan to Opar?", "Why did Albert follow Tarzan? ", "What happens to Tarzan during an earthquake?", "Who is La?", "What does La try to do when Tarzan rejects her?", "Who kidnaps Jane?", "Who does Tarzan escape Opar with?", "Why does Tarzan go to Opar?", "Who knows of the secret location of Atlantis?", "Who is Albert Werper?", "What happened to Tarzan in the treasure room?", "Who is La?", "What is La's interest in Tarzan?", "How did La react to Tarzan's rejection to La's love?", "What happened to Jane?", "Who kidnapped Jane?", "Who knows the location of the pile of gold?", "Where did Tarzan return to?", "What happened to Atlantis thousands of years ago?", "Who is the only person that knows where there is a large stockpile of gold in Opar?", "How did Tarzan lose his memory?", "Where was Tarzan located when he was struck by the rock in the head?", "Who is the servant of The Flaming God of Opar?", "What does Tarzan do that enrages La?", "What does La do after she is rejected?", "Who was Jane kidnapped by?", "What object did Tarzan and Werper escape Opar with?" ]

[ [ "Tarzan ", "Tarzan" ], [ "Thousands of years ago", "1000s of years ago" ], [ "Albert Werper", "Albert Werper" ], [ "Because Tarzan is the only one who knows where Opar is located.", "he's hired to do so" ], [ "He is struck in the head and loses his memory.", "He is hit on the head with a rock." ], [ "La is the high priestess that serves the Flaming God of Opar.", "A high priestess." ], [ "She tries to have him killed.", "have him killed" ], [ "The criminal Arab that Albert works for?", "an Arab" ], [ "Albert Werper", "Albert Werper." ], [ "To find gold in Atlantis and help his financial hardships.", "make money" ], [ "Tarzan.", "Tarzan." ], [ "Someone hired by a criminal to follow Tarzan.", "Belgian officer" ], [ "He was struck by a boulder and lost his memory.", "He gets his on the head during an earthquake." ], [ "The high priestess and servant to the Flaming God of Opar.", "A priestess who is a servant of the Flaming God of Opar." ], [ "She was in love with him.", "love" ], [ "She tried to get him killed.", "She tries to have him killed" ], [ "She was kidnapped.", "She's kidnapped" ], [ "The criminal Arab.", "The Arab." ], [ "The Oparians.", "Tarzan" ], [ "Opar", "Opar" ], [ "The city sank in the sea.", "It sank beneath the waves." ], [ "Tarzan", "Tarzan." ], [ "He was hit in the head by a falling rock during an earthquake.", "He gets hit on the head by a falling rock." ], [ "the treasure room in Opar.", "in the treasure room at Opar" ], [ "La", "La" ], [ "He rejects her love.", "rejectsher" ], [ "She trys to kill Tarzan.", "Tries to have Tarzan killed." ], [ "A criminal Arab ", "The Arab" ], [ "The sacrificial knife of Opar", "the sacrificial knife" ] ]

[ [ "and Romont, and the judgment of Rochfort! Beaumelle, however, does\nnot appear during the trial, and upon the paternal sentence of doom,", "same course as the original, save that the application of Romont to\nRochfort and his foiling by the stratagem of Beaumelle and Bellapert\nare omitted. A really notable departure is found in the discovery of", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "Beaumelle is a young girl whose mother, we may infer, has long been\ndead. The cares of the bench have been too great to allow her father", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "from herself to him. But Romont would be more likely to swear by his\nown hand than by Beaumelle’s.", "_Rom._ Sure, I sleepe not.\n\n _Roch._ Your sentence life or death.\n\n _Char._ Faire Beaumelle, can you loue me?", "_Knock within. Exit Beaumelle. Enter Rochfort._", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "When Beaumelle next appears, in the Third Act, there has been a change.\nWe may imagine that she has had time to ponder those cynical maxims", "_Roch._ ’Tis well.\n\n _Beau._ My Father.\n\n _Nouall._ My honorable Lord.", "_Roch._ Why how now _Beaumelle_, thou look’st not well.\n Th’ art sad of late, come cheere thee, I haue found", "between Romont and Beaumelle is conducted with that flood of rhetorical\nvituperation by which he customarily attempts to delineate passion;\nin no portion of the play is his diction and sentence-structure more", "Beaumelle’s mother is still alive, but she herself has just spoken of\n“you two my women” (l. 11).", "vital point. A study of the text, however, will discover Beaumelle\nto be portrayed, in the brief compass of her appearance, in no\nwise inadequately, but rather, if anything, somewhat beyond the", "page whose pert _asides_ of satiric comment are anticipated in the\nearlier work by those of a youngster of identical kidney. The long\nscene in which we are introduced to Beaumelle and given insight into", "_Rom._ Then with your patience lend me your attention\n For what I must deliuer, whispered onely\n You will with too much griefe receiue.\n\n _Enter Beaumelle, Bellapert._", "_Roch._ _Nouall_ slayne,\n And _Beaumelle_ my daughter in the place\n Of one to be arraign’d." ], [ "_Enter Beaumelle_: _Florimell_: _Bellapert_.\n\n _Beau._ I prithee tell me, _Florimell_, why do women marry?", "of some other kind. Beaumelle means that Florimal is the medicine and\nBellapert the sweet which makes it palatable.", "_Beau._ Stay _Bellapert_.", "Beaumelle is a young girl whose mother, we may infer, has long been\ndead. The cares of the bench have been too great to allow her father", "vital point. A study of the text, however, will discover Beaumelle\nto be portrayed, in the brief compass of her appearance, in no\nwise inadequately, but rather, if anything, somewhat beyond the", "250 s. d.--in G. & S.: _Enter_ Beaumelle _and_ Bellapert, _behind_.\n\n254 _turne--turn’d_ (M.", "Beaumelle’s mother is still alive, but she herself has just spoken of\n“you two my women” (l. 11).", "page whose pert _asides_ of satiric comment are anticipated in the\nearlier work by those of a youngster of identical kidney. The long\nscene in which we are introduced to Beaumelle and given insight into", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "witty, but thoroughly depraved, Bellapert the more congenial, and\nadopts her as her mentor and confidant. She is in love, after a", "_Beau._ Ah my sweete Bellapert thou Cabinet\n To all my counsels, thou dost know the cause 35\n That makes thy Lady wither thus in youth.", "_Rom._ Then with your patience lend me your attention\n For what I must deliuer, whispered onely\n You will with too much griefe receiue.\n\n _Enter Beaumelle, Bellapert._", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "The last figure for consideration, and not the least important, is\nBeaumelle. So general has been the misconception of her character that", "_Bellapert._}\n\n _Aymer._\n\n _Nouall Jun._\n\n _Aduocates._", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "When Beaumelle next appears, in the Third Act, there has been a change.\nWe may imagine that she has had time to ponder those cynical maxims", "of Bellapert on the natural course of romance. Her union has been\nunwilling; she does not care for her husband; Novall appeals to her as", "O _Beaumelle_, my daughter.", "_Exit Bellap._\n\n _Beau._ I shall grow angry.\n\n _Nou._ Not so, you haue a iewell in her, Madam." ], [ "You say my Ladie’s married. I confesse it,\n That Charalois hath inioyed her, ’tis most true", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "time she is given not a Novall but a Charalois to idealize.", "It will continue so: if now her birth\n Be not too meane for Charolois, take her\n This virgin by the hand, and call her wife, 290", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "Ere liue to haue mens marginall fingers point\n At Charaloys, as a lamented story.\n An Emperour put away his wife for touching", "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "But the most serious--indeed, the outstanding--defect of the play\nis the easy readiness of Charalois to break with Romont. The calm,", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "Something that shall remoue it. Oh how happy\n Is my Lord _Charaloys_ in his faire bride!", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_." ], [ "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "Beaumelle is a young girl whose mother, we may infer, has long been\ndead. The cares of the bench have been too great to allow her father", "When Beaumelle next appears, in the Third Act, there has been a change.\nWe may imagine that she has had time to ponder those cynical maxims", "spontaneous outcry on the part of Beaumelle, who does not suspect the\nproximity of her husband, and her discovery follows, and from this", "He did sollicite _Beaumelle_, how he had got\n A promise from her to inioy his wishes, 185\n How after he abiur’d her company,", "Beaumelle’s mother is still alive, but she herself has just spoken of\n“you two my women” (l. 11).", "The last figure for consideration, and not the least important, is\nBeaumelle. So general has been the misconception of her character that", "unexpectedly. During his absence, his wife’s maid introduces the lover\ninto her mistress’ chamber while Amelia sleeps. There Chalons surprises", "Thus, all contriteness, Beaumelle goes to her fate. It should be\nobserved how, even at the last, her tendency to romantic idealization", "vital point. A study of the text, however, will discover Beaumelle\nto be portrayed, in the brief compass of her appearance, in no\nwise inadequately, but rather, if anything, somewhat beyond the", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "O _Beaumelle_, my daughter.", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "him kneeling beside the bed, and kills him. Amelia stabs herself, but\nthe confession of her maid reveals her innocence, and her wound is\npronounced not mortal.", "black and white, and Beaumelle, so far from being a poorly conceived\nand unsatisfactory wanton who is the chief defect of the play, is", "from herself to him. But Romont would be more likely to swear by his\nown hand than by Beaumelle’s.", "ff.); while the request which Malefort prefers, that his daughter be\nmarried to Beaufort Junior, and the language with which that young man", "Act II. For the scene between Beaumelle and her maids is substituted\nanother coloquy of similar import but chastened tone. A brief scene" ], [ "and Romont, and the judgment of Rochfort! Beaumelle, however, does\nnot appear during the trial, and upon the paternal sentence of doom,", "_Rom._ Sure, I sleepe not.\n\n _Roch._ Your sentence life or death.\n\n _Char._ Faire Beaumelle, can you loue me?", "_Roch._ _Nouall_ slayne,\n And _Beaumelle_ my daughter in the place\n Of one to be arraign’d.", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "_Cha._ A Iudge should feele no passions.\n\n _Roch._ Yet remember 115\n He is a man, and cannot put off nature.\n What answere makes the prisoner?", "Of the final Scene, V, iii, little need be said. It brings before us\nagain a court-room, with another trial, and continues the manner of", "between Romont and Beaumelle is conducted with that flood of rhetorical\nvituperation by which he customarily attempts to delineate passion;\nin no portion of the play is his diction and sentence-structure more", "_Roch._ ’Tis well.\n\n _Beau._ My Father.\n\n _Nouall._ My honorable Lord.", "from herself to him. But Romont would be more likely to swear by his\nown hand than by Beaumelle’s.", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "_Roch._ But I pronounc’d it\n As a Iudge onely, and friend to iustice,", "same course as the original, save that the application of Romont to\nRochfort and his foiling by the stratagem of Beaumelle and Bellapert\nare omitted. A really notable departure is found in the discovery of", "occasion, and thereafter he acts promptly and efficiently always. The\nsame over-sensitive pride continues to manifest itself throughout\nthe play--when he is confronted with Rochfort’s generosity; when he", "and reward by the great-hearted Rochfort, form a little play in\nthemselves--a brief but stately tragi-comedy, which is followed by", "Thus, all contriteness, Beaumelle goes to her fate. It should be\nobserved how, even at the last, her tendency to romantic idealization", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "_Roch._ The motion honest.\n\n _Charmi._ And ’tis freely granted.", "_Beau._ I confesse\n The fact I am charg’d with, and yeeld my selfe\n Most miserably guilty." ], [ "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "Char. _You must find other proofs to strengthen these\n But mere presumptions._\n\n Du Croy _Or we shall hardly\n Allow your innocence._", "_Charmi._ You must find other proofes to strengthen these 165\n But more presumptions.\n\n _Du Croy._ Or we shall hardly\n Allow your innocence.", "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "But the most serious--indeed, the outstanding--defect of the play\nis the easy readiness of Charalois to break with Romont. The calm,", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "to be right; suppose the high faith of Charalois in Beaumelle to be\nentirely justified and the charge of Romont to be as groundless as it" ], [ "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "_Roch._ With whom?\n\n _Cha._ With this _Nouall_ here dead.", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "67, s. d.--_Enter Nouall Iu. Charaloys_,--_Enter_ Charalois, _with his\nsword drawn, pursuing_ Novall _junior_, etc. (G., S.", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "But the most serious--indeed, the outstanding--defect of the play\nis the easy readiness of Charalois to break with Romont. The calm,", "_Rom._ In _Nouall_ I cannot.\n But I come furnished with what will stop\n The mouth of his conspiracy against the life 180\n Of innocent _Charaloys_. Doe you know this Character?", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "_Enter Charalois, with Officers._", "_Char._ In the manner\n Of dying, Sir, they do not, but all dye, 230\n And therein differ not: but I haue done." ], [ "_Exeunt._\n\n\n_Scaena 3._\n\n_Enter Romont, Pontalier._\n\n[_A Street_]", "V, iii, 207. _Thy challenge now I answere_--this phrase would indicate\nthat Romont crosses swords with Pontalier, and after a moment of", "him kneeling beside the bed, and kills him. Amelia stabs herself, but\nthe confession of her maid reveals her innocence, and her wound is\npronounced not mortal.", "fencing runs him through; instead of striking him unawares, as the\nmodern stage direction, “_Stabs Pontalier_,” would imply.", "_Enter Pontalier, and Malotin._", "Pontalier, however, is very well conceived and skillfully executed.\nOccupying a relation to Novall Junior quite similar to that of Romont", "_Enter Pontalier_, _Malotin_, _Baumont_.\n\n _Mal._ Tis strange.\n\n _Baum._ Me thinkes so.", "_Pont._ But in Nouall, I doe condemne him thus. 205\n\n _Cha._ I am slayne.", "_Pontalier._\n\n _Malotin._\n\n _Beaumelle._\n\n _Florimel._ }", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "_Tayl._ To let you goe\n\n _Enter old Nouall, and Pontalier._", "207, end--C., f. insert s. d.: _Stabs Pontalier._ See Notes.\n\n215 after _mee_.--C., f. insert s. d.: _Dies._", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "_Nou._ _Pontallier_,\n If I should strike him, I know I shall kill him:\n And therefore I would haue thee beate him, for\n Hee’s good for nothing else.", "_Pont._ I see by this, Nouals reuenge needs me,\n And I shall doe.\n\n _Charmi._ ’Tis euident.", "of the Scene. She hangs back, shrinking, for a moment, when ordered\ninto the coach with the dead body of her partner in guilt. “Come,” says", "_Beau._ Yes, my Lord. 305\n\n _Enter Nouall, Ponta. Malotine, Lilad. Aymer. All salute_", "_Pont._ Troth, ’tis pity, sir.\n A brauer hope of so assur’d a father 115\n Did neuer comfort _France_.", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "the less observed and suspected by her husband’s friend, who speaks\nof the matter to both her father and her lord. The former promises\nto observe her with watchful eye; Chalons, the husband, is at first" ], [ "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "to that of the Danish Prince on his first appearance. But, in reality,\nexcess of pride is the chief reason of Charalois’ backwardness on this", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "“The relief which usurers have to offer mourns, if the debtors have\n(exhibit) too much grief.” Charalois’ remark is, of course, ironical.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "_Du Croy._ Twas his fault\n To be so prodigall.\n\n _Nou. Se._ He had frô the state\n Sufficent entertainment for the Army.", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "At _Granson_, _Morat_, _Nancy_, where his Master, 170\n The warlike _Charloyes_ (with whose misfortunes", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "_2 Cred._ Oh, they are charitable,\n The Marshall stood ingag’d vnto vs three,\n Two hundred thousand crownes, which by his death", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness", "_Char._ Is this the payment, Sir, that you expect? 295\n Why, you participate me more in debt,\n That nothing but my life can euer pay,", "But the most serious--indeed, the outstanding--defect of the play\nis the easy readiness of Charalois to break with Romont. The calm," ], [ "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "“The relief which usurers have to offer mourns, if the debtors have\n(exhibit) too much grief.” Charalois’ remark is, of course, ironical.", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "_Char._ Is this the payment, Sir, that you expect? 295\n Why, you participate me more in debt,\n That nothing but my life can euer pay,", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "_2 Cred._ Oh, they are charitable,\n The Marshall stood ingag’d vnto vs three,\n Two hundred thousand crownes, which by his death", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness", "to that of the Danish Prince on his first appearance. But, in reality,\nexcess of pride is the chief reason of Charalois’ backwardness on this", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s" ], [ "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "_Char._ Is this the payment, Sir, that you expect? 295\n Why, you participate me more in debt,\n That nothing but my life can euer pay,", "_2 Cred._ Oh, they are charitable,\n The Marshall stood ingag’d vnto vs three,\n Two hundred thousand crownes, which by his death", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "“The relief which usurers have to offer mourns, if the debtors have\n(exhibit) too much grief.” Charalois’ remark is, of course, ironical.", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "“A critical reader,” says Monck Mason, “will perceive that Rochfort\nand Charalois speak a different language in the Second and Third Acts,", "_Du Croy._ Twas his fault\n To be so prodigall.\n\n _Nou. Se._ He had frô the state\n Sufficent entertainment for the Army.", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_." ], [ "of Bellapert on the natural course of romance. Her union has been\nunwilling; she does not care for her husband; Novall appeals to her as", "_Enter Beaumelle_: _Florimell_: _Bellapert_.\n\n _Beau._ I prithee tell me, _Florimell_, why do women marry?", "ff.); while the request which Malefort prefers, that his daughter be\nmarried to Beaufort Junior, and the language with which that young man", "witty, but thoroughly depraved, Bellapert the more congenial, and\nadopts her as her mentor and confidant. She is in love, after a", "_Exit Bellap._\n\n _Beau._ I shall grow angry.\n\n _Nou._ Not so, you haue a iewell in her, Madam.", "_Beau._ Ah my sweete Bellapert thou Cabinet\n To all my counsels, thou dost know the cause 35\n That makes thy Lady wither thus in youth.", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "He did sollicite _Beaumelle_, how he had got\n A promise from her to inioy his wishes, 185\n How after he abiur’d her company,", "she talks with Bellapert--Bellapert, the dearest cabinet of her\nsecrets--Bellapert, the bribed instrument of Novall--and is told", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "of some other kind. Beaumelle means that Florimal is the medicine and\nBellapert the sweet which makes it palatable.", "_Beau._ Stay _Bellapert_.", "Beaumelle’s mother is still alive, but she herself has just spoken of\n“you two my women” (l. 11).", "When Beaumelle next appears, in the Third Act, there has been a change.\nWe may imagine that she has had time to ponder those cynical maxims", "_Rom._ Then with your patience lend me your attention\n For what I must deliuer, whispered onely\n You will with too much griefe receiue.\n\n _Enter Beaumelle, Bellapert._", "_Bella._ You are a foole: She lyes, Madam, women marry husbands,\n To lye with other men. 5", "Beaumelle is a young girl whose mother, we may infer, has long been\ndead. The cares of the bench have been too great to allow her father", "spontaneous outcry on the part of Beaumelle, who does not suspect the\nproximity of her husband, and her discovery follows, and from this", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely." ], [ "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "ff.); while the request which Malefort prefers, that his daughter be\nmarried to Beaufort Junior, and the language with which that young man", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "Lothario, who is the analogue of the insignificant Novall Junior--“the\ngay Lothario”--whose very name has been ever since a synonym for", "of Bellapert on the natural course of romance. Her union has been\nunwilling; she does not care for her husband; Novall appeals to her as", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "Novall Junior, the cowardly, foppish, and unscrupulous gallant, though\na flimsy personality, affords once or twice, in the Fieldian prose,\nrather good humor: e. g.--", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "time she is given not a Novall but a Charalois to idealize.", "knows is finer if not of truer metal than his own rough spirit, his\nill-disguised scorn for Novall Junior and his creatures, “those dogs", "true to life. Novall Junior, coward and fop that he was, has hitherto\nalways borne himself in lordly fashion before her, even when they were", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "_Rom._ In _Nouall_ I cannot.\n But I come furnished with what will stop\n The mouth of his conspiracy against the life 180\n Of innocent _Charaloys_. Doe you know this Character?", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it." ], [ "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "the less observed and suspected by her husband’s friend, who speaks\nof the matter to both her father and her lord. The former promises\nto observe her with watchful eye; Chalons, the husband, is at first", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "time she is given not a Novall but a Charalois to idealize.", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "_Exit Nouall._\n\n\n_Scaena 2._\n\n_Enter Charaloys, Baumont._\n\n[_An outer Room in Aymer’s House_]", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the", "spontaneous outcry on the part of Beaumelle, who does not suspect the\nproximity of her husband, and her discovery follows, and from this", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "of Bellapert on the natural course of romance. Her union has been\nunwilling; she does not care for her husband; Novall appeals to her as", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end" ], [ "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "unexpectedly. During his absence, his wife’s maid introduces the lover\ninto her mistress’ chamber while Amelia sleeps. There Chalons surprises", "the less observed and suspected by her husband’s friend, who speaks\nof the matter to both her father and her lord. The former promises\nto observe her with watchful eye; Chalons, the husband, is at first", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "_Exit Nouall._\n\n\n_Scaena 2._\n\n_Enter Charaloys, Baumont._\n\n[_An outer Room in Aymer’s House_]", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "spontaneous outcry on the part of Beaumelle, who does not suspect the\nproximity of her husband, and her discovery follows, and from this", "time she is given not a Novall but a Charalois to idealize.", "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "The trouble has probably been that the critics of Beaumelle have\npassed hastily over the very scurrilous prose scene in which she first", "_Enter Charaloys with Nouals body. Beaumelle, Baumont._", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "Auria, Adurni, Aurelio, and Spinella correspond roughly with Charalois,\nyoung Novall, Romont, and Beaumelle respectively. Auria has gone" ], [ "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "67, s. d.--_Enter Nouall Iu. Charaloys_,--_Enter_ Charalois, _with his\nsword drawn, pursuing_ Novall _junior_, etc. (G., S.", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the", "time she is given not a Novall but a Charalois to idealize.", "_Roch._ With whom?\n\n _Cha._ With this _Nouall_ here dead.", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "_Rom._ In _Nouall_ I cannot.\n But I come furnished with what will stop\n The mouth of his conspiracy against the life 180\n Of innocent _Charaloys_. Doe you know this Character?", "_Exit Nouall._\n\n\n_Scaena 2._\n\n_Enter Charaloys, Baumont._\n\n[_An outer Room in Aymer’s House_]", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "last court-room scene, and then, on the appearance of Novall Senior\nclamoring for vengeance and accompanied by the minions of the law,\nstabs himself.", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "Auria, Adurni, Aurelio, and Spinella correspond roughly with Charalois,\nyoung Novall, Romont, and Beaumelle respectively. Auria has gone", "Scene ii (which in the Quarto ends with the reconciliation of Charalois\nand Romont, the entry of Du Croy, Charmi, etc. being marked as the", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "_Roch._ I embrace it, 45\n As an assurance of their fauour to me,\n And name my Lord Nouall.\n\n _Du Croy._ The Court allows it." ], [ "Pontalier, however, is very well conceived and skillfully executed.\nOccupying a relation to Novall Junior quite similar to that of Romont", "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "_Tayl._ To let you goe\n\n _Enter old Nouall, and Pontalier._", "_Exeunt._\n\n\n_Scaena 3._\n\n_Enter Romont, Pontalier._\n\n[_A Street_]", "_Pont._ I see by this, Nouals reuenge needs me,\n And I shall doe.\n\n _Charmi._ ’Tis euident.", "V, iii, 207. _Thy challenge now I answere_--this phrase would indicate\nthat Romont crosses swords with Pontalier, and after a moment of", "author. Novall Junior and his coterie appear here as in their former\npresentation in II, ii. We have again the same racy comedy, the same", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "Novall Junior, the cowardly, foppish, and unscrupulous gallant, though\na flimsy personality, affords once or twice, in the Fieldian prose,\nrather good humor: e. g.--", "satisfaction of his hate in any way save through the law; for example,\nhe does not seize upon, or even think seriously of, Pontalier’s proffer", "true to life. Novall Junior, coward and fop that he was, has hitherto\nalways borne himself in lordly fashion before her, even when they were", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "Lothario, who is the analogue of the insignificant Novall Junior--“the\ngay Lothario”--whose very name has been ever since a synonym for", "_Pont._ But in Nouall, I doe condemne him thus. 205\n\n _Cha._ I am slayne.", "_Beau._ Yes, my Lord. 305\n\n _Enter Nouall, Ponta. Malotine, Lilad. Aymer. All salute_", "_Nou._ _Pontallier_,\n If I should strike him, I know I shall kill him:\n And therefore I would haue thee beate him, for\n Hee’s good for nothing else.", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "Novall’s comparison is perhaps an allusion to the mean appearance of\nJesuit spies who would come from thence to England on some pretext,\nsuch as to see their friends during the Christmas season.", "_Nou._ Ha, ha, ha, what are my courses vnto thee? 350\n Good Cousin _Pontalier_, meddle with that\n That shall concerne thyselfe." ], [ "_Exeunt._\n\n\n_Scaena 3._\n\n_Enter Romont, Pontalier._\n\n[_A Street_]", "V, iii, 207. _Thy challenge now I answere_--this phrase would indicate\nthat Romont crosses swords with Pontalier, and after a moment of", "Romont, however, is the finest figure of the play. He draws to\nhimself rather more than his share of interest and sympathy, to the", "prison’s chains for his sake, shocks us, and repels us with its flinty\nself-sufficiency. It is not that we know him to be wrong and Romont", "Pontalier, however, is very well conceived and skillfully executed.\nOccupying a relation to Novall Junior quite similar to that of Romont", "friend. Though his military exploits are spoken of with admiration, and\nRomont testifies that he can “pursue a foe like lightning,” he betrays", "But the most serious--indeed, the outstanding--defect of the play\nis the easy readiness of Charalois to break with Romont. The calm,", "of mental intoxication, into which she has been lifted by her reckless\nresolve and the consciousness of danger; at any rate she now shows\nherself altogether too much for Romont; she finds a shrewdness and an", "and Romont, and the judgment of Rochfort! Beaumelle, however, does\nnot appear during the trial, and upon the paternal sentence of doom,", "Romont’s tirade (ll. 174-206) against old Novall, when the vehemence\nof his indignation leads him to seek at every breath the epithet of", "from herself to him. But Romont would be more likely to swear by his\nown hand than by Beaumelle’s.", "surprised by Romont; but now at last she beholds him stripped to the\nshivering abjectness of his contemptible soul, that she may observe", "and more vituperative insistence on the part of Romont in the face\nof Charalois’ warnings that he has gone far enough, and the quarrel", "said to “cross every deserved soldier and scholar,” and, on the other\nhand, the detestation in which Romont holds him, are manifestations of", "as in Romont a detailed study. His every word is eloquent of his\nstern, not to say _mean_, nature--curt and severe towards others, all", "as one of his four chief productions of that year. He, too, chose for\nhimself the part of Romont, which was considered by many his greatest", "unworthy wife, excites rather indignation; the later words of Romont\nwith which he justifies his unshaken loyalty to his comrade turn back", "between Romont and Beaumelle is conducted with that flood of rhetorical\nvituperation by which he customarily attempts to delineate passion;\nin no portion of the play is his diction and sentence-structure more", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "_Pont._ But in Nouall, I doe condemne him thus. 205\n\n _Cha._ I am slayne." ], [ "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "_Roch._ With whom?\n\n _Cha._ With this _Nouall_ here dead.", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "You haue out-wept a woman, noble Charolois.\n No man but has, or must bury a father.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "At _Granson_, _Morat_, _Nancy_, where his Master, 170\n The warlike _Charloyes_ (with whose misfortunes", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "transferred from Act II to the close of Act I, while the redemption of\nCharalois takes place at the funeral of his father, which concludes", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness" ], [ "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "You haue out-wept a woman, noble Charolois.\n No man but has, or must bury a father.", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "_Roch._ With whom?\n\n _Cha._ With this _Nouall_ here dead.", "of the Scene. She hangs back, shrinking, for a moment, when ordered\ninto the coach with the dead body of her partner in guilt. “Come,” says", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "to withhold the corpse of their debtor from burial; and, indeed, it is\nobviously impossible that a statute permitting any such practice could\nhave been passed in Christian England of the seventeenth century. The", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "_Char._ Take it, tis granted.\n\n _Roch._ What?\n\n _Char._ Nothing, my Lord.", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride" ], [ "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness", "confirm the one strikingly sure, true appraisement which he exhibited,\nhis admiration for Charalois. Characteristically, this weakness seems", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "_Roch._ ’Tis well:\n I am strangely taken with this _Charaloyes_;\n Me thinkes, from his example, the whole age", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "Then those that are lesse knowing--How appear’d\n The piety and braue behauior of\n Young _Charloyes_ to you?", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "to that of the Danish Prince on his first appearance. But, in reality,\nexcess of pride is the chief reason of Charalois’ backwardness on this", "speechlessness of Charalois at the beginning of the play. She has\never been “handmaid” to her father’s will; she realizes all her hopes", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the" ], [ "And Charolois. I giue you to your friend\n As free a man as hee; your fathers debts\n Are taken off.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "_Char._ Is this the payment, Sir, that you expect? 295\n Why, you participate me more in debt,\n That nothing but my life can euer pay,", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "_2 Cred._ Oh, they are charitable,\n The Marshall stood ingag’d vnto vs three,\n Two hundred thousand crownes, which by his death", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "to ransom with gold, was suggested by the behavior of Charalois; but\nthis can be no more than a coincidence, as it here but reproduces what\nis in the French original.", "“The relief which usurers have to offer mourns, if the debtors have\n(exhibit) too much grief.” Charalois’ remark is, of course, ironical.", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "transferred from Act II to the close of Act I, while the redemption of\nCharalois takes place at the funeral of his father, which concludes", "You haue out-wept a woman, noble Charolois.\n No man but has, or must bury a father.", "_Roch._ With whom?\n\n _Cha._ With this _Nouall_ here dead.", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of" ], [ "_Roch._ Call in my daughter: still I haue a suit to you.\n\n _Baum. Exit._\n\n Would you requite mee.", "_Roch._ _Nouall_ slayne,\n And _Beaumelle_ my daughter in the place\n Of one to be arraign’d.", "and Romont, and the judgment of Rochfort! Beaumelle, however, does\nnot appear during the trial, and upon the paternal sentence of doom,", "_Roch._ Tis well and courtly; you must giue me leaue,\n I haue some priuate conference with my daughter,\n Pray vse my garden, you shall dine with me. 140", "and reward by the great-hearted Rochfort, form a little play in\nthemselves--a brief but stately tragi-comedy, which is followed by", "_Exeunt._\n\n\n[SCENE II]\n\n[_A Room in Rochfort’s House._]", "_Roch._ This in my daughter? doe not wrong her.\n\n _Bell._ Now. 260\n Begin. The games afoot, and wee in distance.", "_Roch._ Sir, the loue I bore your father, and the worth\n I see in you, so much resembling his.\n Made me thus send for you. And tender heere 250", "_Roch._ And for you, daughter, off with this, off with it:\n I haue that confidence in your goodnesse, I, 295", "Rochfort. Utter devotion to virtue, to which he had paid a life-long\nfidelity, is the key-note of the nature of the aged Premier President,", "_Roch._ The motion honest.\n\n _Charmi._ And ’tis freely granted.", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "_Roch._ Nay, would you make me now your debter, Sir.\n This is my onely child: what shee appeares, _Enter Baum. Beau._", "of mental intoxication, into which she has been lifted by her reckless\nresolve and the consciousness of danger; at any rate she now shows\nherself altogether too much for Romont; she finds a shrewdness and an", "same course as the original, save that the application of Romont to\nRochfort and his foiling by the stratagem of Beaumelle and Bellapert\nare omitted. A really notable departure is found in the discovery of", "_Roch._ ’Tis well.\n\n _Beau._ My Father.\n\n _Nouall._ My honorable Lord.", "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "_Char._ You need not question me, if I can you.\n You are the fayrest virgin in _Digum_,\n And _Rochfort_ is your father.", "occasion, and thereafter he acts promptly and efficiently always. The\nsame over-sensitive pride continues to manifest itself throughout\nthe play--when he is confronted with Rochfort’s generosity; when he", "O _Beaumelle_, my daughter." ], [ "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "ff.); while the request which Malefort prefers, that his daughter be\nmarried to Beaufort Junior, and the language with which that young man", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "a few lines only, in which Beaumont bears to Rochfort a request from\nCharalois to meet him in the church yard. Then follows a lugubrious", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "Beaumelle’s lover completes the conquest, when her father interrupts\ntheir tete-a-tete--her father, who comes with the anouncement that", "You say my Ladie’s married. I confesse it,\n That Charalois hath inioyed her, ’tis most true", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "acknowledges this meets his own dearest wish, bear a no less patent\nresemblance to the bestowal of Beaumelle upon Charalois (II, ii,", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "has wronged Love itself (II, ii, 154); only when Charalois turns to\nher with a direct question, “Fair Beaumelle, can you love me?” does", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce", "quasi-tragic role. Marston appeared as Charalois, G. Bennett as\nRochfort, and Miss Cooper as Beaumelle.", "the less observed and suspected by her husband’s friend, who speaks\nof the matter to both her father and her lord. The former promises\nto observe her with watchful eye; Chalons, the husband, is at first", "So it was with Beaumelle. Except for one brief cry of “Undone for\never!” she utters no word from the moment of the surprise to the end", "He did sollicite _Beaumelle_, how he had got\n A promise from her to inioy his wishes, 185\n How after he abiur’d her company,", "_Exit. Hoboyes._\n\n _Here a passage ouer the Stage, while the Act is playing for the\n Marriage of Charalois with Beaumelle, &c._", "Scene ii (which in the Quarto ends with the reconciliation of Charalois\nand Romont, the entry of Du Croy, Charmi, etc. being marked as the" ], [ "Novall, and to be blind to the disposition of his daughter, and the\ndanger that lay in her intimacy with Novall Junior. But if his kindly", "Lothario, who is the analogue of the insignificant Novall Junior--“the\ngay Lothario”--whose very name has been ever since a synonym for", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "Romont’s tirade (ll. 174-206) against old Novall, when the vehemence\nof his indignation leads him to seek at every breath the epithet of", "author. Novall Junior and his coterie appear here as in their former\npresentation in II, ii. We have again the same racy comedy, the same", "knows is finer if not of truer metal than his own rough spirit, his\nill-disguised scorn for Novall Junior and his creatures, “those dogs", "true to life. Novall Junior, coward and fop that he was, has hitherto\nalways borne himself in lordly fashion before her, even when they were", "last court-room scene, and then, on the appearance of Novall Senior\nclamoring for vengeance and accompanied by the minions of the law,\nstabs himself.", "Novall Junior, the cowardly, foppish, and unscrupulous gallant, though\na flimsy personality, affords once or twice, in the Fieldian prose,\nrather good humor: e. g.--", "finds (III, i, 365 ff.) that it is he who is the object of the jests\nof Novall Junior and his satellites (though scarce a breath earlier", "of Bellapert on the natural course of romance. Her union has been\nunwilling; she does not care for her husband; Novall appeals to her as", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "ff.); while the request which Malefort prefers, that his daughter be\nmarried to Beaufort Junior, and the language with which that young man", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the", "in the brief period of their wedlock) with his outraged honor and\nirresistible prowess assumes to her eyes the proportions of a hero; and", "Novall’s comparison is perhaps an allusion to the mean appearance of\nJesuit spies who would come from thence to England on some pretext,\nsuch as to see their friends during the Christmas season.", "Novall’s objection and her summary answer thereto had broken in upon.", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "had they been able; they wanted their Novall to be just the cowardly,\ndandyfied thing they made him. Beyond the portrait of Lothario, small", "Pontalier, however, is very well conceived and skillfully executed.\nOccupying a relation to Novall Junior quite similar to that of Romont" ], [ "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "the amour by Charalois. According to Sheil, Novall Junior and his\nmistress attempt to elope, but the note which appoints their rendezvous", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "V, iii, 207. _Thy challenge now I answere_--this phrase would indicate\nthat Romont crosses swords with Pontalier, and after a moment of", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "harshness of Novall Senior, the indignant outburst of Romont, and the\nsad, yet noble calmness of Charalois’ speech in which he presses the", "time she is given not a Novall but a Charalois to idealize.", "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "These two traits--pride and an adherence to “the point of honor,” are\nalmost invariably the mainsprings of Charalois’ conduct. His pride", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "67, s. d.--_Enter Nouall Iu. Charaloys_,--_Enter_ Charalois, _with his\nsword drawn, pursuing_ Novall _junior_, etc. (G., S.", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "his devotion to what he conceives to be his duty. It will be observed\nthat he never joins with the rest of the group about Novall Junior in\ntheir jibes against Charalois and Romont.", "conception of that situation by which Charalois, burdened as he is with\nan immense debt of thankfulness to Rochfort, finds himself suddenly\ncalled by the imperative demands of honor to do that which will", "and more vituperative insistence on the part of Romont in the face\nof Charalois’ warnings that he has gone far enough, and the quarrel", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "_Rom._ In _Nouall_ I cannot.\n But I come furnished with what will stop\n The mouth of his conspiracy against the life 180\n Of innocent _Charaloys_. Doe you know this Character?", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his" ], [ "Charalois, in terrible jest, “you have taught me to say, you must and\nshall.... You are but to keep him company you love--” and she obeys\nmutely.", "V, iii, 174-5.--The last two lines of Charalois’ speech are addressed\nto his judges; what preceded them to Novall.", "the mind perforce to that comrade’s lack of loyalty to _him_, and\nunwittingly ring out as a judgment upon Charalois:", "story to Charalois to disbelief and resentment, his prompt, fearless\ndecisiveness of action, the tumultuous flood of nervous and at times", "falls into Charalois’ hands, and he waits for the lovers and surprises\nthem, killing Novall off-stage. The Fifth Act opens with a scene of", "[_Dramatis personae._] _Charalois_--the name _Charalois_ is a\ncorruption of _Charolais_, the Count of Charolais being the hereditary", "his baseness. She sees him cowed and beaten and slain, while Charalois\n(whom she never knew before their marriage nor has tried to understand", "V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du\nCroy which follows it.", "Of the final Scene, V, iii, little need be said. It brings before us\nagain a court-room, with another trial, and continues the manner of", "_Enter Charalois with a casket, Beaumelle, Baumont._\n\n[_A Room in_ Charalois’ _House_]", "part of Romont that whether or not Novall takes papers depends on how\nthe matter is brought before him--and he is about to add that there is\na way in which Charalois can manage to gain his point, when he breaks", "The hero, Charalois, is drawn as of a gentle, meditative, temperate,\nand self-possessed disposition, in strong and effective contrast to his", "[_A Street before the Court of Justice_]\n\n_Enter_ Charaloyes _with a paper_, Romont, Charmi.", "_Roch._ I doe, and much lament the sudden fall 35\n Of his braue house. It is young _Charloyes_.", "Charalois reveals her body, slain already by his hand. To the father\nhe vindicates his action in much the same words as in Massinger’s", "to Charalois, he is yet differentiated from his parallel, while at\nthe same time he is kept free from any taint of the despicableness", "_Actus tertius._\n\n\n_Scaena prima._\n\n[_A Room in Charalois’ House_]", "The case of Charolais is peculiar. _A priori_ we should expect him\nto be just such a personage, yet his conduct throughout is best", "_Exit Nouall._\n\n\n_Scaena 2._\n\n_Enter Charaloys, Baumont._\n\n[_An outer Room in Aymer’s House_]", "part of” Charalois, made one with him through the virtuous harmony of\ntheir minds!--no voice is more unfaltering than her own to pronounce" ] ]

[ "WHO IS BEAUMELLE TO ROCHMONT?", "WHO IS BELLEPERT TO BEAUMELLE?", "WHO DOES CHARALOIS MARRY?", "WHO DOES BEAUMELLE HAVE AN AFFAIR WITH?", "IN A MOCK TRIAL, WHAT SENTENCE DOES DOES THE JUDGE ROCHMONT GIVE BEAUMELLE?", "WHAT CRIME IS CHARALOIS ACQUITTED OF?", "WHO KILLS CHARALOIS?", "WHO KILLS PONTALIER?", "Why did General Charalois get into debt?", "Why does the General's son Charalois assume his debts?", "Who eventually pays General Charalois's debts?", "Why does Bellapert want Beaumelle to marry?", "Why does Novall Junior not want Beaumelle to marry Charalois?", "Who tries to warn Charalois about Novall and Beaumelle's growing intimacy?", "How does Charalois find out that Novall and Beaumelle are having an affair?", "Who wins the duel between Charalois and Novall?", "Why does Pontalier owe Novall Junior a favor?", "Why does Romont kill Pontalier?", "Where did the elder Charalois die?", "Who refuses to release Charalois' body for burial?", "What does the younger Charalois do that amazes everyone?", "Who paid the debt for the younger Charalois?", "What is the name of Rochmont's daughter?", "Who arranges a marriage between Charalois and Beaumelle?", "Why is Novelle Junior irate over the marriage?", "Why does Charalois challenge Novell to a duel?", "What happens to the younger Charalois in the court room?" ]

[ [ "HIS DAUGHTER", "his daughter" ], [ "HER WAITING WOMAN", "Bellepert is her lady in waiting" ], [ "BEAUMELLE", "Beaumelle" ], [ "NOVALL JUNIOR", "Novall Junior." ], [ "DEATH", "death" ], [ "THE KILLING OF NOVALL JUNIOR", "Murder." ], [ "PONTALIER", "Pontalier" ], [ "ROMONT", "Rochmont" ], [ "He borrowed money to pay the expenses of his troops.", "To pay for his troops." ], [ "To free his father's body from debtor's prison so it can be buried.", "to free his body from prison" ], [ "A retiring judge named Rochmont.", "Rochmont" ], [ "So Beaumelle can have affairs with illicit lovers.", "for sexual gratification" ], [ "He wanted to take Beaumelle's virginity.", "He will lose his chance of taking her virginity." ], [ "Charalois's best friend Romont.", "Romont" ], [ "He catches them having sex.", "He walks in on them." ], [ "Charalois kills Novall.", "Charalois" ], [ "Novall Junior helped Pontalier get out of debtor's prison. ", "he paid his debt" ], [ "Pontalier killed his best friend Charalois.", "For killing Charalois." ], [ "He died in debtors prison.", "prison" ], [ "His creditors.", "His creditors." ], [ "He offer to take his fathers place in prison, so his fathers body can be released.", "Offers to pay his father's debts and be put in prison." ], [ "Retiring judge Rochmont", "Rochmont" ], [ "Beaumelle", "Beaumelle." ], [ "Rochmont", "Beaumelle's father." ], [ "He wanted to take Beaumelle's virginity.", "he loses his chance to take Beaumelle's virginity" ], [ "He walked in on Novell with Beaumelle.", "Novell was having an affair with his wife." ], [ "He is stabbed and killed by a friend of Novell.", "Rochmont offers to cover his debt" ] ]

[ [ "The door flies open and Indy rushes in with Willie behind him.\n Indy appraises the situation quickly and jumps into the pilot's\n seat with total confidence --", "A two-engine passenger plane is revving its motors and the last\n passengers are boarding. The Duesenberg squeals to a stop and\n Indy jumps out with Willie and Short Round right on his heels.", "Short Round suddenly butts the co-pilot in the stomach with his\n head. The co-pilot yells and falls out the door. Short Round", "Willie and Short Round charge up the ladder and onto the plane.\n Indy pauses at the top of the steps to give Lao a cocky farewell", "The second plane swoops down and Short Round blasts away. This\n time as he swivels the gun, he misses and hits one of the DC-3's\n own engines and it explodes!", "As Short Round eagerly swerves around a corner, Willie holds on\n for dear life. Indiana suddenly puts his hand down the front of\n Willie's dress --", "21 INT. THE PASSENGER CABIN 21.\n\n As the air battle rages, the passengers are tossed about and some\n start screaming. Short Round peers out a window.", "Willie looks terrified but helps Short Round grab onto Indy's arm\n and the back of his jacket. He skips over the front of the car\n and swings a leg underneath --", "SHORT ROUND\n Indy!!\n\n Indy sees Short Round holding up the broken brake lever! Indy\n crawls quickly toward Shorty while Willie holds on for dear life!", "SHORT ROUND\n Lao send planes to kill Indy!\n\n Willie shakes Indy's arm but he continues snoring under his hat.", "Indiana picks up his whip and attaches it to his belt as Willie\n runs over to him.\n\n WILLIE\n There's nobody flying the plane!", "INDIANA\n The airport...No, look out,\n Short Round! Left, left!\n\n Indy reaches over the front seat and helps Short Round navigate.", "Suddenly he dives into the air and catches hold of a block and\n tacke! Indy skids along the pulley system, sliding down a cable\n toward the mine car in which Short Round and Willie are riding.", "Indiana rolls over, lifts his hat and hollers! He nearly jumps\n out of his pants as he stares into the elephant's trunk. Willie\n and Short Round dissolve into laughter.", "Short Round is frightened to death and crying --\n\n SHORT ROUND\n Willie, help us! Hurry!", "The co-pilot hurries toward the rear. Willie looks petrified as\n a stewardess rushes up and hands her a parachute.", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "As the first fighter appears off their side, Short Round blasts\n out the open door! The machine gun explodes to life, chewing\n bullets, smoking and spitting shells at Willie --", "SHORT ROUND (Cont'd)\n Indy, you back?\n\n Suddenly a priest grabs Short Round and pulls him off Indiana.", "The pilot hurries out of the cockpit and grabs his parachute as\n he heads toward the back.\n\n WILLIE (Cont'd)\n Wait -- who's flying the plane?!" ], [ "The door flies open and Indy rushes in with Willie behind him.\n Indy appraises the situation quickly and jumps into the pilot's\n seat with total confidence --", "The pilot hurries out of the cockpit and grabs his parachute as\n he heads toward the back.\n\n WILLIE (Cont'd)\n Wait -- who's flying the plane?!", "Indiana picks up his whip and attaches it to his belt as Willie\n runs over to him.\n\n WILLIE\n There's nobody flying the plane!", "Indy rushes out of the smoking cockpit to find Willie and Short\n Round crawling out from under the debris that's fallen on them.\n Then Indy spots something in the wreckage --", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "Indy runs back and grabs Willie. All three of them take off,\n running faster than they've ever run in their lives!", "Willie runs screaming out of the cockpit, her last hope shatter-\n ed. Shorty is pulling something out of the cargo compartment --\n he's found a machine gun and sets it up on a short tripod.", "Indy shoves past Willie and takes the brake level from Shorty.\n\n INDIANA\n Let her go! Our only chance is\n outrunning them!", "SHORT ROUND\n Indy!!\n\n Indy sees Short Round holding up the broken brake lever! Indy\n crawls quickly toward Shorty while Willie holds on for dear life!", "They scuffle until the parachute skids across the floor. Short\n Round jumps for it -- the parachute falls out the door and Short\n Round starts to fall out after it!", "A two-engine passenger plane is revving its motors and the last\n passengers are boarding. The Duesenberg squeals to a stop and\n Indy jumps out with Willie and Short Round right on his heels.", "In the first row, Willie is busy fixing her make-up. Shorty sits\n in the seat across the aisle from her. Indy comes up and drops\n his tuxedo onto the floor.", "WILLIE\n Indy! Help me!\n\n INDIANA\n Don't worry, I'm coming in! What\n is it?", "Willie looks lost until the Chinese co-pilot smiles again and\n speaks in ENGLISH --\n\n CO-PILOT\n Please to remain calm. We start\n passing out parachutes now --", "Suddenly the DC-3 emerges out of a cloud and Indy sees they are\n headed directly for a mountain! He pulls back hard on the con-\n trols as a rocky peak looms lethally in front of them.", "WILLIE (Cont'd)\n You know how to fly?\n\n Indy surveys the control panels, the myraid of dials and switches --", "sees the co-pilot's parachute billow. Then Willie rushes up.", "Willie looks terrified but helps Short Round grab onto Indy's arm\n and the back of his jacket. He skips over the front of the car\n and swings a leg underneath --", "Indiana crawls up the burning bridge and Willie and Short Round\n reach for him at the top. They pull him up onto the cliff and\n they all look around exhausted --", "He pulls at some yellow canvas and Willie sees as sign: EMERGENCY\n LIFE RAFT. Indy drags the folded canvas over to the open door." ], [ "Now they hear shouts of joy from the peasants. The children\n returning home start running to meet their parents who are rush-\n ing out to greet them.", "Indiana, Willie and Short Round lead the children down the\n village road. Ahead they see villagers rebuilding their primi-\n tive dwellings.", "There is no sign of children in the village and Short Round grows\n frightened by the odd attention. He moves closer to Indy as they\n pass the devastated population.\n\n CUT TO:", "Torches falre eerily and dogs howl as the peasants accompany the\n shaman, elders and three visitors out ot the edge of the dark\n village. Short Round walks beside Indy.", "There is laughter and tears as families are reunited. Indiana\n sees the old shaman approaching with the chieftain and the\n village elders.", "through the village, along which groups of ptiifully poor vil-\n lagers stare at the strangers being brought in.", "rocks to illuminate them. The shaman makes a gesture of devotion\n to the primitive shrine and Indy speaks to the village chieftain.", "Indy ignores her hollering. The elephants move off through the\n crowds of pitiful villagers. Indy sees the elders, chieftain and", "The chieftain indicates a young villager sitting near them.\n\n CHIEFTAIN\n Sanju will guide you.\n\n INDIANA\n Thank you.", "The camera follows Indiana -- he's walking fast and determinded-\n ly. Villagers trot alongside of him, trying to keep up with is\n pace as he questions thm in Hindi.", "She picks up her plate and gently hands it back to the women.\n The chieftain finally speaks to them --\n\n CHIEFTAIN\n You will rest here before you go\n on.", "Meanwhile Sajnu goads Willie's elephant over. The villagers look\n grief stricken and many are crying as they watch the three stran-\n gers' departure.", "Indy walks against the rising wind and looks around. The village\n is asleep and seems deserted. Then he turns and sees something.\n\n We follow small bare feet stumbling through the dust...", "Short Round looks plenty scared as they all stop walking. The\n shaman motions and the men with torches circle around a pile of", "Willie watches the shaman take it reverently and bow to them.\n The shaman joins the elders and they walk to the village's small", "Moal Ram raises both hands and his voice echoes strange incanta-\n tions. Behind him, three priests carry cloth-wrapped objects to-\n ward the altar.", "Willie looks at the changed landscape and seems astonished: the\n barren countryside has been reborn. They see streams flowing\n beneath green trees, flowers blooming and peasants harvesting\n golden grain in the fields.", "A sea of frightening faces once again intones the horrible sacri-\n ficial chant. Among the shorshippers, the little Maharajah sits", "They draw the attention of the slave children working in the tun-\n nels around the cavern. But it's the sight of the approaching\n guard that worries Indy --", "The shaman touches his fingers to his forehead and bows. The\n three travelers return his greeting and the shaman is quite moved\n as he speaks to Indiana --" ], [ "recently and look like images used\n by the Thuggees to worship the god-\n des Kali.", "INDIANA\n It's a Thuggee ceremony. They're\n whorshipping Kali, the goddess of\n Death and Destruction.", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "The red-eyed priests bow at the base of the statue and gaze\n reverently at their KALI MA. Skulls surround her stone feet", "They stare at a small statue of a malevolent goddess with eight\n arms. Around the goddess's neck, a carved necklace displays\n small human heads -- her eight hands hold other heads by their\n hair.", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "Grotesque statues of Kali's baleful minions line the walls. In a\n corner, there is another statue of Kali herself, draped with", "Indiana enters the dark chamber behind the altar. The only il-\n lumination is the back-light streaming around the silhouetted\n statue of Kali.", "MOLA RAM\n The British in India will be\n slaughtered. Then we will over-\n run the Moslems and force their\n \"Allah\" to bow to Kali.", "CHATTAR LAL\n Mola Ram is telling the faithful\n of out victory. He says the\n British have left the palace,\n which proves Kali Ma's new power.", "Thuggee guards supervise the deadening work, while others oper-\n ate the pulley-and-hoist system used to drag the cars up the\n sloped dump ramp.", "Indiana backs away and looks up at the horrific statue of Kali.\n It seems to be watching him. He turns and is about to go when he\n hears something --", "Kali's face is loathsome: her earrings are two corpses. Her\n evil tongue extends out of her twisted mouth and what looks like\n read blood flows over her long fangs and down her naked breasts.", "THE MULTITUDE\n Jai ma Kali, jai ma Kali!", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "THE MULTITUDE\n Jai ma Kali, jai ma Kali!\n\n107. INT. THE ALTAR 107.", "CHATTAR LAL\n (to Indy)\n This will prove your devotion to\n Kali.", "INDIANA\n Kali Ma protects us now and for-\n ever, and we must pledge our\n devotion by worshipping her with\n an offering of flesh and blood!", "on a riased platform. Like the other believers, he stares across\n the crevasse at the altar of Kali Ma.", "Mola Ram stands facing Kali with his arms outstretched and\n kneels and bows and then walks off the altar and disappears." ], [ "Straining to lift the rocks into the mine cars, several of the\n children slip and fall. Bare-chested Thuggee guards shout at the\n enslaves children and kick those who've fallen.", "Indy sees the startled slave children looking up at him in shock.\n He smiles victoriously at the Thuggees below who've run over to\n see what happened.", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "They watch him run and hurdle a pile of lumber, bound up three\n steps and duck behind a tool shack on the platform. Indy reaches\n out and grabs one of the passing slave children.", "MAHARAJAH\n I have heard the terrible stories\n of the evil Thuggee cult...\n\n When the little Marahajah speaks it surprises everyone and there\n is silence.", "Thuggee guards supervise the deadening work, while others oper-\n ate the pulley-and-hoist system used to drag the cars up the\n sloped dump ramp.", "CAPT. BLUMBURTT\n Of course. The Thuggees were an\n obscenity that worshipped Kali", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "Indeed, Zalim Singh is only thirteen. Outfitted in silver and\n gold brocade, festooned with enormous jewels, the litlle Mahara-", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "They draw the attention of the slave children working in the tun-\n nels around the cavern. But it's the sight of the approaching\n guard that worries Indy --", "Meanwhile, Indiana continues to politely needle Chattar Lal.\n\n INDIANA\n I suppose stories of the Thuggees\n die hard.", "Freed children scramble up numerous ladders to escape the mines\n below. They follow the mass of children moving toward the front\n altar.", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "At the emntion of the Thuggees, the Indians at the table quiet,\n as it a taboo has been broken. Chattar Lal glares at Indiana.", "The sash around his waist gets caught under the rolling cursher\n and he's dragged back under it feet first. The Thuggee giant\n screams hideously as his body is rolled over and squashed by the\n enormous stone wheel!", "INDIANA\n It's a Thuggee ceremony. They're\n whorshipping Kali, the goddess of\n Death and Destruction.", "Mola Ram opens his eyes and he sees Indiana and Short Round\n standing in chains before him.\n\n MOLA RAM\n You were caught trying to steal\n the Sankara Stones.", "But the other guards push and beat the children back to work.\n Short Round is shoved against a wall and groans -- he reaches over\n and grabs a large rock, lifting it defiantly --", "A sea of frightening faces once again intones the horrible sacri-\n ficial chant. Among the shorshippers, the little Maharajah sits" ], [ "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "Indiana backs away and looks up at the horrific statue of Kali.\n It seems to be watching him. He turns and is about to go when he\n hears something --", "Indiana enters the dark chamber behind the altar. The only il-\n lumination is the back-light streaming around the silhouetted\n statue of Kali.", "Indy's eyes look horrified as the blood flows from the skull down\n his choking throat -- some of the blood spills and falls to the\n floor --", "Indy's head is held back and Mola Ram spills the blood -- it\n flows out of the mouth of the skull into Indy's mouth.", "Recurling the whip, Indy attaches it to his belt and moves to-\n ward the towering statue of Kali. The three Sankara stones start\n to glow and Indiana approaches them cautiously.", "Indiana's glowing eyes watch emotionlessly as Willie is brought\n out. Dressed in a Rajput maiden's outfit, Willie has been jewel-\n ed and draped with flowers -- a strange contrast as she struggles\n desperately.", "It sounds like a voice and Indy is afraid to turn -- could it be\n Kali? The he hears other noises echoing and turns slowly. Real-", "Kali's face is loathsome: her earrings are two corpses. Her\n evil tongue extends out of her twisted mouth and what looks like\n read blood flows over her long fangs and down her naked breasts.", "Suddenly he spits the blood, spraying Mola Ram and the little\n Maharajah. Looking at his blood-splattered clothes, the Mahara-\n jah is furious.", "The guards hold Indiana's head back and force his mouth open.\n Mola Ram tips the skull and blood spills out of its death-\n grinning jaws and flows into Indiana's mouth. Indy gags --", "CHATTAR LAL\n (to Indy)\n This will prove your devotion to\n Kali.", "Suddenly Indy drops the boulder and grabs him arm, feeling a\n shooting pain again. Then he yells as he feels yet another stab-\n bing pain in his left leg.", "On the altar, under the statue of Kali, Willie and Short Round\n are helping Indy and some of the bigger children rip down a\n long wooden panel decorated with hideous Kali figures.", "As Indy pronounces the magical words, the bag begins glowing and\n starts to burn Mola Ram as he clutches it -- the stones begin to\n spill out of the bag and the High Priest grabs from them.", "INDIANA\n Kali Ma protects us now and for-\n ever, and we must pledge our\n devotion by worshipping her with\n an offering of flesh and blood!", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "Indy looks down and writhes terrified as he sees Mola Ram's hand\n starting to enter his chest (as it entered the victim's chest\n during the temple sacrifice)!", "SHORT ROUND\n How?\n\n NAINSUKH\n They will make me drink blood of\n Kali. Then I fall into black\n sleep of Kali Ma...", "The red-eyed priests bow at the base of the statue and gaze\n reverently at their KALI MA. Skulls surround her stone feet" ], [ "Indiana's yell continues to echo -- his head jerks suddenly --\n Indy jolts awake as if coming out of a nightmare, awakened by his\n own reverberating shout.", "Suddenly Indy drops the boulder and grabs him arm, feeling a\n shooting pain again. Then he yells as he feels yet another stab-\n bing pain in his left leg.", "Indy finally shakes his head and gives in to his animal\n instincts. He buttons his shirt, puts his boots back on and\n grabs his leather jacket.", "Indy hears the scream and hears Willie calling to him. He runs\n back toward the river. Stopping on the riverbank, he sees Willie", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "They kiss yet again -- and Indy breaks it off, just to show he's\n still in control. He backs away toward his room.", "SHORT ROUND\n The pain -- the pain makes him wake up!\n (thinking quickly)\n Indy! I can make Indy wake up!", "Indiana rolls over, lifts his hat and hollers! He nearly jumps\n out of his pants as he stares into the elephant's trunk. Willie\n and Short Round dissolve into laughter.", "A few minutes later, the little boy is lying unconscious on a\n blanket. Elders crouch around him. Indy is kneeling and watches", "Now Indy motions to Short Rounds and Willie to follow. As they\n start to move out they freeze dead in their tracks and Indy\n motions again angrily --", "Indy's about to object -- then he looks at the sad chieftain, the\n elders and peasants who are watching him helplessly. And he sees\n again the dark steady eyes of the old shaman.", "Meanwhile, Indy is on the brink of unconsciousness as the giant's\n massive hands throttle his neck. Indy's head hangs over the end\n of the mine car and suddenly his eyes widen --", "Slowly, Indy is able to push Mola Ram's hand away and his fingers\n withdraw from Indy's chest. Indiana suddenly slugs the High\n Priest in the face and grabs for the bag of Sankara Stones --", "Indiana withdraws his hand, having finally found the vial. He\n opens is quickly, tips the vial to his lips and grimaces as he\n swallows the stuff.", "Indy turns and asks the shaman a question in Hindi. The shaman\n answers in Hindi.", "Indy continues to sleep -- until bullets smash the window by his\n head and a fire extinguisher is hit and starts spraying into\n Indy's face.", "Indy won't let go. Suddenly the High Priest reaches up and grabs\n his own Thuggee guard and yanks his down by the front of his\n shirt --", "Indy rushes out of the smoking cockpit to find Willie and Short\n Round crawling out from under the debris that's fallen on them.\n Then Indy spots something in the wreckage --", "Indy sees the stone in his hand suddenly cool. He watches Mola\n Ram plummeting downward into the chasm and finally crashing into\n the jagged rocks at the bottom.", "Suspiciously, Indy touches the stone, but it doesn't burn. He\n lifts it carefully and peers into it. The enormous diamond\n sparkles inside. He places the stone in his shoulder bag and\n reaches for the others." ], [ "Short Round suddenly darts out onto the altar and Mola Ram sees\n him and yells. Several priests grab for Shorty. He eludes the", "As the other guards fire down at him, Indiana dodges along the\n catwalk and fires back at them. A bullet explodes near Mola Ram\n and he ducks back --", "Mola Ram shouts at his priests and another one of them runs to-\n ward Indy on the platform. Short Round dives and tackles the\n priest.", "Indiana crawls up as the bridge starts to burn from the continu-\n ing bursts of fiery arrows. At the top, Mola Ram reaches up des-\n perately for a hand old -- Willie smashes his hand with a rock!", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "Below them, Mola Ram clutches onto one of the main ropes while\n directly above him the last of his guards holds on for dear life.", "Mola Ram opens his eyes and he sees Indiana and Short Round\n standing in chains before him.\n\n MOLA RAM\n You were caught trying to steal\n the Sankara Stones.", "Suddenly he spits the blood, spraying Mola Ram and the little\n Maharajah. Looking at his blood-splattered clothes, the Mahara-\n jah is furious.", "He slugs the High Priest in the face and Mola Ram keels over\n backwards against the statue of Kali. Short Round helps stuff\n the Sankara Stones into Indiana's shoulder bag.", "Indiana slips downward, scrambling to catch hols of something --\n meanwhile, Mola Ram now has the bag with the Sankara Stones.", "At the top of the bridge, Mola Ram keeps climbing until rocks\n start poundinghim from above -- Willie and Short Round pely him\n with rocks which he tries to block with his arm.", "Immediately Mola Ram's guards start to flee in panic -- too late!\n Indiana swings the sword again and the two ropes on the other\n side are severed --", "In different times this would be called a Mexican stand-off\n Indiana looks at the guards in front and behind him. He sees\n Willie and Short Round out on the bridge now with Mola Ram at\n their backs.", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "As Indy pronounces the magical words, the bag begins glowing and\n starts to burn Mola Ram as he clutches it -- the stones begin to\n spill out of the bag and the High Priest grabs from them.", "Then Mola Ram looks across the gorge and yells. Indy sees a dozen\n of the last Thuggee guards streaming out of the tunnel -- only\n to be stranded on the far side of the now bridgeless gorge.", "Suddenly Mola Ram shoves Short Round out onto the bridge. The\n High Priest draws a dagger and pushes Willie onto the swaying\n span, holding the knife behind them both.", "Mola Ram nods and two guards grab Indy. They drag him struggling\n to a rock and chain him to it. Short Round scuffles as he's\n pulled aside to watch.", "Slowly, Indy is able to push Mola Ram's hand away and his fingers\n withdraw from Indy's chest. Indiana suddenly slugs the High\n Priest in the face and grabs for the bag of Sankara Stones --", "Across the quarry, Mola Ram and six temple guards run out onto a\n high platform next to the waterfall. Mola Ram sees Willie and\n Short Round pushing the mine cat." ], [ "Indy runs back and grabs Willie. All three of them take off,\n running faster than they've ever run in their lives!", "Indiana, Willie and Short Round lead the children down the\n village road. Ahead they see villagers rebuilding their primi-\n tive dwellings.", "Now Indy motions to Short Rounds and Willie to follow. As they\n start to move out they freeze dead in their tracks and Indy\n motions again angrily --", "A ways off, Willie stands wrapped in a blanket watching Shorty\n and the elephant as she dries her hair by a campfire. Now Indy\n comes up and drops an armload of wood for yet another fire.", "Short Round nods and hands Indy his bullwhip and shoulder bag.\n Willie sees Indiana peering down at the sheer drop below the\n mouth of the wind tunnel.", "SHORT ROUND\n Indy?\n\n INDIANA\n Okay, Shorty.\n\n Indy looks over at Willie who is moaning.", "In the first row, Willie is busy fixing her make-up. Shorty sits\n in the seat across the aisle from her. Indy comes up and drops\n his tuxedo onto the floor.", "Indiana crawls up the burning bridge and Willie and Short Round\n reach for him at the top. They pull him up onto the cliff and\n they all look around exhausted --", "Indy hears the scream and hears Willie calling to him. He runs\n back toward the river. Stopping on the riverbank, he sees Willie", "He pulls Willie down to the floor and shoves her the ammunition\n belt that's draped toward the gun. Then Shorty jumps behind the\n machine gun --", "Willie whoops for joy and hugs Indy who smiles modestly --\n\n INDIANA\n Okay, Shorty, hit the brakes!", "Indiana sees the painted shaman, who sits next to the chieftain,\n watching Willie. The women bring in a bowl from which they scoop\n tiny portions of grey gruel onto three plates.", "The door flies open and Indy rushes in with Willie behind him.\n Indy appraises the situation quickly and jumps into the pilot's\n seat with total confidence --", "WILLIE\n Took what?\n\n INDIANA\n It's a sacred stone in a shine\n that's supposed to protect a\n village.", "Indy rushes out of the smoking cockpit to find Willie and Short\n Round crawling out from under the debris that's fallen on them.\n Then Indy spots something in the wreckage --", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "Behind them, Indy finally pulls himself up from under the bridge.\n He stands up and sees Willie and Short Round halfway across", "INDIANA\n Ouch...\n\n Willie looks faint as Indiana gets to his feet and Shorty jumps\n out of the car. They help Willie out and she stands shakily --", "As Indy turns and starts off, Willie reaches up to the tree\n branch above her head and grabs her underwear. At this moment we\n notice something awful:", "Indiana finally stops. He walks back to Willie, suddenly picks\n her us in his arms and starts carrying her the remaining way.\n Willie is surprised and puzzled." ], [ "Indiana takes a seat across the table from Shanghai's notorious\n crime-lord. Lao is fifty, wealthy enough to now display some\n fat, but still muscular from his fight to the top of the garbage\n heap.", "SHANGHAI - 1935\n\n At the table, the four Chinese man in suits stare coldly at Indi-\n ana.", "10. EXT. A SHANGHAI SQUARE - NIGHT 10.", "Kao Kan tenses and Indy smiles at Wu Han, the Chinese waiter with\n the scar, who is standing behind Lao. Wu Han has a towel over", "The man in the tuxedo stops to watch Willie Scott singing sexily\n on the stage. Then he looks around and sees the table of somber\n Chinese men that Short Round spotted earlier.", "The Duesenberg races past the entrace to the nightclub as Lao\n and his man rush out and jump into two black sedans. The sedans\n screech off in pursuit of the Duesenberg.", "Kao Kan stands and grabs Wu Han, easing the phoney waiter into\n the chair he just vacated. The muffled shooting hasn't attracted", "Meanwhile, the two sedans skid to a stop and Lao and his son Kao\n Kan jumpsout with their henchmen. The puzzled military police\n advance on them usspiciously --", "Short Round chews gum and stares at the men. Then he turns to\n go. WU HAN, a waiter with a scar across his cheek, watches Short\n Round leave.", "and champagne flows. Short Round finally spots a table of\n somber-looking Chinese men in suits.", "Wu Han groans and sways. Indy starts to stand but Chen immedi-\n ately turns the smoking pistol with the silencer that he used to\n kill Wu Han -- Indy sees it pointed at him now and he remains in\n his seat.", "Lao just laughs evilly -- until a waiter moves up behind Lao and\n the crimelord suddenly stiffens. He lets go of Willie's wrist", "CAPT. BLUMBURTT\n No, he's a very shrewd old boy.\n Power behind the throne and all\n that. He actually runs this whole\n province.", "Indiana kneels and arranges the wood.\n\n INDIANA (Cont'd)\n Shorty's family was killed when\n they bombed Shanghai. He was\n living on the streets.", "From the ethereal beauties, we cut to a street urchin's dirty\n face: SHORT ROUND is a ten-year-old Chinese kis wearing a beat-\n up American baseball cap.", "Wu Han dies and slumps forward. Indiana is shattered by the\n death of his old friend.\n\n LAO\n Don't be sad, Dr. Jones -- you\n will soon join him.", "The knife pokes Willie and she whimpers again. Lao reaches into\n another pocket and brings out a folded piece of rice paper -- he\n opens it and a large diamond and ruby spill out onto the table.", "But Short Round's not here to ogle crooning dames. He surveys\n the rich Chinese, American and European revelers. Jewels flash", "Then, a tall severe-looking Indian in an English suit material-\n izes out of the shadows and comes forward slowly. CHATTAR LAL\n appraises the intruders suspiciously:", "The DC-3 banks into the clouds as the two biplanes attack. In\n the back seat of the first biplane, we see Kao Kan watching the\n DC-3 like a hawk about to bring down a sparrow." ], [ "SHORT ROUND (Cont'd)\n Indy, you back?\n\n Suddenly a priest grabs Short Round and pulls him off Indiana.", "Short Round chews gum and stares at the men. Then he turns to\n go. WU HAN, a waiter with a scar across his cheek, watches Short\n Round leave.", "As Short Round eagerly swerves around a corner, Willie holds on\n for dear life. Indiana suddenly puts his hand down the front of\n Willie's dress --", "SHORT ROUND\n Indy, they glow like fire and get\n real crazy! Then he talk in this\n real scary voice!\n\n Indy tousles Short Round's hair.", "Short Round is frightened to death and crying --\n\n SHORT ROUND\n Willie, help us! Hurry!", "Willie sees Short Round rush over to Indiana and grab him around\n the waist from behind. Willie finally jumps up and runs over --\n\n WILLIE\n Wait for me!", "INDIANA\n (angrily)\n Short Round, what in the hell\n are you doing?", "Short Round and Willie struggle upwards, clutching ropes and\n stepping on slats. Finally, Short Round heaves himself up onto\n solid ground and turns to help Willie up.", "Short Round races up a tunnel and then flattens himself behind a\n corner. He peers anxiously into a large carven and sees two\n guards walking away.", "Indiana and Short Round hike up a rock-paved road beside a high\n wall. Exhausted, carrying her high heels, Willie trudges along\n behind them.", "Short Round leaps over the pool of water and grabs onto a bucket.\n He rises up on this make-shift elevator toward the rock balcony\n and the malicious little Maharajah.", "Short Round scurries up the ladder and pulls himself up into the\n chamber behind the altar. He looks at the light flaring around\n the statue of Kali --", "Short Round grabs the end of it and pulls hard -- the whip is\n tugged taut between the two hostile boys. As they draw near each\n other, Short Round sees something weird:", "Indy and Short Round's eyes meet -- and the kid realizes that his\n hero isn't kidding. Willie looks at Shout Round anxiously -- she", "Indiana notices the wretched peasants staring at Short Round,\n some of them pointing at him, a few haggard women shedding tears\n down their wrinkled faces as the little Chinese boy passes.", "Short Round laughs and plays with the baby elephant. Wrapped in\n its trunk, he's swung in the air and lands on the elephant's", "SHORT ROUND\n Good luck.\n\n Short Round slips over the edge and slides down a wet stalactite\n to the floor of the cavern.", "SHORT ROUND\n Indy!!\n\n Indy sees Short Round holding up the broken brake lever! Indy\n crawls quickly toward Shorty while Willie holds on for dear life!", "Willie starts to run and Short Round backs away, keeping the\n guard at a distance with his dagger. Suddenly the guard cries out\n in Hindi and dives at Short Round.", "As the first fighter appears off their side, Short Round blasts\n out the open door! The machine gun explodes to life, chewing\n bullets, smoking and spitting shells at Willie --" ], [ "The door flies open and Indy rushes in with Willie behind him.\n Indy appraises the situation quickly and jumps into the pilot's\n seat with total confidence --", "A door opens at the rear of the plane and Indiana Jones exits\n wearing more familiar attire: a beat-up leather jacket over a", "Suddenly the DC-3 emerges out of a cloud and Indy sees they are\n headed directly for a mountain! He pulls back hard on the con-\n trols as a rocky peak looms lethally in front of them.", "A two-engine passenger plane is revving its motors and the last\n passengers are boarding. The Duesenberg squeals to a stop and\n Indy jumps out with Willie and Short Round right on his heels.", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "Indy runs back and grabs Willie. All three of them take off,\n running faster than they've ever run in their lives!", "Indiana growls and winds up to take a killer swing -- he steps\n back, cocks his arm -- and suddenly turns and runs away.", "Gunfire explodes and they both scramble in different directions.\n Indy dives through the fleeing nightclub patrons and slides be-", "Indy runs along the riverbank, trying to get closer to her, but\n not about to jump into the river (due to his aversion to snakes\n -- see Episode One: \"Raiders of the Lost Ark\").", "Meanwhile, Indy runs along the catwalk above the conveyor belt.\n He jumps and grabs onto a cross-bard -- he kicks out with his feet\n and knocks a quarry guard off the catwalk.", "Indiana spots the rolling mine car racing across the quarry. Indy\n takes off and runs along the catwalk -- bullets explode around\n him, splintering wood. Indy reaches the end of the catwalk --", "Indy listens to the agitated guide and then speaks a few words in\n Hindi back to him. They watch the distressed guide trun the ele-\n phants and start away with them as fast as possible.", "Finally, an instant before the plane will hit, Indy dives and\n pulls the inflation cord!\n\n31. EXT. THE SKY 31.", "She sees Indy speeding by atop the serving cart. Lao and his\n gunmen rush out to block the way. Indy rolls off the cart and\n slides behind a potted palm as Lao's men open fire again.", "They see Indy put his hand over the kid's mouth and whisper to\n him. He releases the kid who sneaks away, alerting the other\n children who start making their escapes into side tunnels.", "INDIANA\n The airport...No, look out,\n Short Round! Left, left!\n\n Indy reaches over the front seat and helps Short Round navigate.", "Indy finally shakes his head and gives in to his animal\n instincts. He buttons his shirt, puts his boots back on and\n grabs his leather jacket.", "Suddenly he dives into the air and catches hold of a block and\n tacke! Indy skids along the pulley system, sliding down a cable\n toward the mine car in which Short Round and Willie are riding.", "They kiss yet again -- and Indy breaks it off, just to show he's\n still in control. He backs away toward his room.", "salute. Indy boards the plane and the co-pilot slams the door." ], [ "She dashes behind a screen to start getting dressed. Meanwhile\n Indy feels the marble walls. He moves to a niche in which there\n is a small statue of Ganesha, the friendly elephant god.", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "Hiding behind the palm tree, Indiana looks around and spots a gi-\n ant statue at the side of the stage. Indy makes a break for it.", "Indiana moves closer to the statue as the terrified guide backs\n away. Indy is fascinated by the ritual objects adorning it:", "Indiana and Short Round stumble into the chamber. It is a terri-\n fying gallery of occult yantras, ritualistic statues and grisly\n icons of the evil Thuggee sect.", "They stare at a small statue of a malevolent goddess with eight\n arms. Around the goddess's neck, a carved necklace displays\n small human heads -- her eight hands hold other heads by their\n hair.", "Grotesque statues of Kali's baleful minions line the walls. In a\n corner, there is another statue of Kali herself, draped with", "As Willie chatters on with the Prime Minister, Indiana wanders\n off. He moves to a wall where bronze statues and strange devo-\n tional objects are displayed.", "Indiana lifts the statue -- and a panel in the wall opens slow-\n ly. Short Round looks amazed. Indy watches the light fall\n across the far wall of a tunnel as the door opens slowly.", "On the altar, under the statue of Kali, Willie and Short Round\n are helping Indy and some of the bigger children rip down a\n long wooden panel decorated with hideous Kali figures.", "As bullets smash into the statue, Indiana hides behind it. Then\n he jumps out and swings the large sword toward the enormous brass\n gong.", "On the other side of the crevasse, evil-looking priests\n materialize out of clouds of swirling smoke. The priests carry\n smoke-billowing urns to a giant stone statue.", "SHORT ROUND\n What you look at, Indy?\n\n INDIANA\n Just a statue.", "Short Round races up a tunnel and then flattens himself behind a\n corner. He peers anxiously into a large carven and sees two\n guards walking away.", "Indiana backs away and looks up at the horrific statue of Kali.\n It seems to be watching him. He turns and is about to go when he\n hears something --", "Mammoth stone statues of elephants, lions and demi-gods (half/man,\n half/animal monstrosities) loom above the swelling crowds or wor-\n shippers.", "Indiana enters the dark chamber behind the altar. The only il-\n lumination is the back-light streaming around the silhouetted\n statue of Kali.", "Short Round scurries up the ladder and pulls himself up into the\n chamber behind the altar. He looks at the light flaring around\n the statue of Kali --", "alizing the sounds are coming from behind the altar, Indy moves\n around it toward the back.", "As the camera pulls back, the mouth of the wind tunnel in which\n they are standing becomes just a small hole overlooking the stag-\n gering vastness of the incredible TEMPLE OF DEATH." ], [ "The assassin screams as he is hanged! His legs twitch in\n his death throes -- and below him, Short Round finally wakes up.", "Indiana rips the cord from around his neck and gasps for breath.\n He sees the assassin pulling a knife. Indiana dives as the knife\n flies through the air and slams into the wall.", "The assassin is stunned and Indiana curls forward pulling him\n into a somersault and sening him flying over his back. The ass-", "Indiana sinks lower and then feels something -- desperately he\n grabs a brass pot on the floor by the handle and swings it with\n his last strength, smashing it up into the assassin's head with\n a skull-crushing clang!", "Indy shoves the assassin backwards, ramming the big man into the\n wall. The assassin maintains his deathgrip -- while on the\n chaise, Short Round sleeps through it all!", "Suddenly the assassin does a full-blown backward sommersault\n which rips the whip out of Indy's hand. The assassin has an in-\n stant to grin victoriously --", "And like a doomed flounder, the assassin is slowly reeled up and\n dragged toward the ceiling, his toes lifting off the floor.", "Short goes over and turns off the fan -- the assassin's body\n drops and Indy recoils his whip. Suddenly they hear a hideous\n scream -- Willie!", "sees the assassin's face is a mirror -- and a strange yellow\n light glowing in the killer's eyes.", "suspecting gunman, crashes into him from behind and sends him\n flying head first into a row of ice buckets.", "There's a noise and they see two guards and a priest outside the\n cell. Nainsukh cowers in the darkness at the back of the cell,\n like a trapped animal awaiting the inevitable.", "Indy aims and fires again -- the gunman is hit and knocked back\n in the car. Another guard with a Khyber rifle moves up to the\n front and starts firing.", "As bullets smash into the statue, Indiana hides behind it. Then\n he jumps out and swings the large sword toward the enormous brass\n gong.", "The huge assassin stands behind Indy, twisting the cord even\n tighter around his neck. As Indy attempts to break free he", "There he finds Willie swinging the brake-handle and smashing the\n guard in the gut. The man doubles in pain -- Willie kicks his\n putt and he splashes into the pool of water.", "Willie closes her eyes as they rocket toward the curve. In the\n car behind, the Thugge guard at the brake also shoves the brake\n off -- and looks extremely worried.", "Stranger still, the sacrificial victim is still alive -- there is\n no evidence of a gash on his chest, only a reddish mark The", "The gunman is hit, his rifle flies up and his head smashes\n against the beam hurtling above! Screaming horribly, the gunman\n is knocked from the speeding car like a broken doll.", "A huge drum sounds three times and the chanting stops. The\n silence is chilling as another robed figure appears out of the\n some on the altar.", "Chattar Lal's eyes glow as he lunges suicidally at Indiana, at-\n tempting to take Indy with him as he dives from the platform!" ], [ "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "INDIANA\n It's a Thuggee ceremony. They're\n whorshipping Kali, the goddess of\n Death and Destruction.", "They stare at a small statue of a malevolent goddess with eight\n arms. Around the goddess's neck, a carved necklace displays\n small human heads -- her eight hands hold other heads by their\n hair.", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "Thuggee guards supervise the deadening work, while others oper-\n ate the pulley-and-hoist system used to drag the cars up the\n sloped dump ramp.", "The two Thuggee cars shoot past, descending into the darkness in\n pursuit of the infidels who stole the Sankara Stones.", "CHATTAR LAL\n Mola Ram is telling the faithful\n of out victory. He says the\n British have left the palace,\n which proves Kali Ma's new power.", "Across the gorge, the Thuggee guards run up a path to a small\n gove of trees growing on a plateau above the gorge. The guards\n have bows and arrows and take firing positions --", "The red-eyed priests bow at the base of the statue and gaze\n reverently at their KALI MA. Skulls surround her stone feet", "Across the gorge, by the grove of trees, a Thuggee priest yells\n orders to the archers who continue to launch the flaming arrows.", "A sea of frightening faces once again intones the horrible sacri-\n ficial chant. Among the shorshippers, the little Maharajah sits", "This is MOLA RAM, the High Priest of the Thugge cult. Mola\n Ram's red-rimmed eyes glare from the sunken sockets in his", "Indy sees the startled slave children looking up at him in shock.\n He smiles victoriously at the Thuggees below who've run over to\n see what happened.", "Indy flails and feints and the Thuggee guard lunges and slashes.\n Indy finally gains the upper hand and dispatches the Thuggee\n guard who slumps defeated into the dirt.", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "The chanting stops at the Kali worshippers notice the battle on\n the altar. The little Maharajah looks concerned and leaves,\n shoving through the crowd behind his bodyguards.", "There's a noise and they see two guards and a priest outside the\n cell. Nainsukh cowers in the darkness at the back of the cell,\n like a trapped animal awaiting the inevitable.", "As the drum booms three times more, Mola Ram lifts one arm\n up from his emaciated body and suddenly there is a scream!", "recently and look like images used\n by the Thuggees to worship the god-\n des Kali." ], [ "Indy sees the startled slave children looking up at him in shock.\n He smiles victoriously at the Thuggees below who've run over to\n see what happened.", "Indy sees more Thuggee guards rushing out of the tunnel behind\n him. He turns and sees two of the tmeple guards who captured\n Willie and Short Round coming across the bridge in front of him.", "Across the gorge, by the grove of trees, a Thuggee priest yells\n orders to the archers who continue to launch the flaming arrows.", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "Across the gorge, the Thuggee guards run up a path to a small\n gove of trees growing on a plateau above the gorge. The guards\n have bows and arrows and take firing positions --", "Thuggee guards supervise the deadening work, while others oper-\n ate the pulley-and-hoist system used to drag the cars up the\n sloped dump ramp.", "Then, a tall severe-looking Indian in an English suit material-\n izes out of the shadows and comes forward slowly. CHATTAR LAL\n appraises the intruders suspiciously:", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "This is MOLA RAM, the High Priest of the Thugge cult. Mola\n Ram's red-rimmed eyes glare from the sunken sockets in his", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "The two Thuggee cars shoot past, descending into the darkness in\n pursuit of the infidels who stole the Sankara Stones.", "CAPT. BLUMBURTT\n Of course. The Thuggees were an\n obscenity that worshipped Kali", "Indy flails and feints and the Thuggee guard lunges and slashes.\n Indy finally gains the upper hand and dispatches the Thuggee\n guard who slumps defeated into the dirt.", "The Thuggee car hits the boulder and upends! The guards scream\n horribly as the car tumbles end over end, slamming against the", "MAHARAJAH\n I have heard the terrible stories\n of the evil Thuggee cult...\n\n When the little Marahajah speaks it surprises everyone and there\n is silence.", "Willie closes her eyes as they rocket toward the curve. In the\n car behind, the Thugge guard at the brake also shoves the brake\n off -- and looks extremely worried.", "The shadows of the Thuggee guards loom over Willie and she\n SCREAMS again!\n\n CUT TO:", "The sash around his waist gets caught under the rolling cursher\n and he's dragged back under it feet first. The Thuggee giant\n screams hideously as his body is rolled over and squashed by the\n enormous stone wheel!", "As the drum booms three times more, Mola Ram lifts one arm\n up from his emaciated body and suddenly there is a scream!", "In front of Indy, the Thuggee giant grabs a pick-axe as the con-\n veyor slides past a tool bin. The giant approaches Indy with it." ], [ "All heads turn toward an unfortunate, struggling Indian begin\n dragged out by priests. The man's face and body are wildly\n painted. He screams again as he's tied onto a square iron frame\n laying atop a large flat stone.", "Stranger still, the sacrificial victim is still alive -- there is\n no evidence of a gash on his chest, only a reddish mark The", "Suddenly htere is a heart-rending scream of terror and the\n priests draf forward the next sacrificial victim --", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "As the sacrificial victim looks down into the crevasse below --\n he screams -- and we see the molten lava bubbling crimson at the\n bottom of the chasm!", "Indeed, the bloody heart is still beating in Mola Ram's hand!\n He lifts the heart into the air and the worhippers begin the chant.", "Suddenly Mola Ram's hand shoots out toward the man's chest -- and\n pierces it! The High Priests hand sinks into the victim's\n writing body and rips out his living heart!", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "Up in the temple, Willie continues to struggle as her legs are\n strapped to the iron sacrifical frame. Chattar Lal grabs her", "Suddenly Mola Ram shoves Short Round out onto the bridge. The\n High Priest draws a dagger and pushes Willie onto the swaying\n span, holding the knife behind them both.", "Mola Ram nods and two guards grab Indy. They drag him struggling\n to a rock and chain him to it. Short Round scuffles as he's\n pulled aside to watch.", "WILLIE\n I'm afraid they'll kill them! We\n saw horrible things down there --\n they had a human sacrifice and they\n ripped a man's heart out!", "Indiana's glowing eyes watch emotionlessly as Willie is brought\n out. Dressed in a Rajput maiden's outfit, Willie has been jewel-\n ed and draped with flowers -- a strange contrast as she struggles\n desperately.", "There's a noise and they see two guards and a priest outside the\n cell. Nainsukh cowers in the darkness at the back of the cell,\n like a trapped animal awaiting the inevitable.", "Moal Ram raises both hands and his voice echoes strange incanta-\n tions. Behind him, three priests carry cloth-wrapped objects to-\n ward the altar.", "They stare at a small statue of a malevolent goddess with eight\n arms. Around the goddess's neck, a carved necklace displays\n small human heads -- her eight hands hold other heads by their\n hair.", "Mola Ram opens his eyes and he sees Indiana and Short Round\n standing in chains before him.\n\n MOLA RAM\n You were caught trying to steal\n the Sankara Stones.", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "A sea of frightening faces once again intones the horrible sacri-\n ficial chant. Among the shorshippers, the little Maharajah sits" ], [ "Shorty is convused and worried -- and then he sees something! He\n looks up and there on a rock-cut balcony over the cavern is the\n little Maharajah!", "Across the cavern, Willie shoves the rolling mine car toward the\n balcony.\n\n WILLIE\n Get down here, Shorty! I got us\n a ride!", "Indiana nods groggily. He sees a young slave worker in rags sit-\n ting near Short Round. Through the iron bars of the cell, Indy\n sees the children slaving in the mine tunnels.", "MAHARAJAH\n Please -- listen -- to go out\n you must take the left tunnel.\n\n Shorty looks at him and he knows he's telling the truth.", "Freed children scramble up numerous ladders to escape the mines\n below. They follow the mass of children moving toward the front\n altar.", "SHORT ROUND\n (indicating the kid)\n This is Nainsukh -- from the vil-\n lage. They bring him here to dig\n in the mines.", "Tey duck out of the tunnel and run for cover behind a slag heap.\n Loaded mine cars roaring down from the mines hurtle past them and\n crash to a stop against the cars in front.", "But rather than heaving it at the guard, Short Round smashes the\n rock down on the leg chains binding him to the other children.\n Shorty beats at the chain with the rock, determined to escape.", "The guard's eyes, which were glowing yellow before, are now dim-\n ming and returning to normal. The moaning guard looks at Shorty\n thankfully and then looks around as if waking from a nightmare --", "The man groans and sinks to his knees. Willie sees that Short\n Round is in trouble. She runs over, leaps onto the back of the\n other guard and starts ripping his hair out.", "Willie pushes and empty mine car out of her way -- an empty mine\n car! She runs back and starts shoving the mine car along the\n rails toward the conveyor belt.", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "They see Indy put his hand over the kid's mouth and whisper to\n him. He releases the kid who sneaks away, alerting the other\n children who start making their escapes into side tunnels.", "Short Round takes a chance -- he dives and rolls across the\n tunnel. He ducks behind a mine car full of rocks being pushed\n out by two chained children.", "Short Round, Willie and Indiana rush across the chamber behind\n the altar. They run over to the ladder and start climbing down\n into the mines.\n\n147. INT. THE MINES", "From the side tunnel, Indiana watches the noisy operation.\n\n INDIANA\n Those empty cars have got to go\n out of the mines.", "SHORT ROUND\n No -- Indy -- wake up!\n\n Then Shorty sees a flaming torch hanging on a wall bracket and he\n has an idea.", "The little boy's eyes open and he begins to revive. Shrot Round\n And Willie watch from a corner as the little boy looks at all the\n faces peering down at him.", "Short Round and Willie struggle upwards, clutching ropes and\n stepping on slats. Finally, Short Round heaves himself up onto\n solid ground and turns to help Willie up.", "Indiana, Willie and Short Round run through the deserted mine\n tunnels. They hear a rumbling noise and Indy leads them down a\n side tunnel. They stop and peer into a quarry." ], [ "sacred mound. Indy and Willie stay back. They see him kneel and\n replace the stone in its niche.", "Reaching the stones, Indy's face is lighted by them. He notices\n that one of them (sthe stone from Mayapore village) has strange\n lines painted across it.", "MOLA RAM\n There were five stones in the\n beginning. Over the centuries\n they were dispersed by wars,\n sold off by thieves like you...", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "Indy gives a doubtful smile. He turns again to the old shaman.\n\n INDIANA\n But why would the Maharajah take\n this sacred stone?", "And once again the three sacred Sankara Stones glow magically.\n Mola Ram materializes evilly amidst the swirling smoke and he\n begins chanting in Sanskrit.", "shaman nod)\n The lines represent the three\n levels of the universe. I've seen\n stones like the one you lost.", "WILLIE\n Took what?\n\n INDIANA\n It's a sacred stone in a shine\n that's supposed to protect a\n village.", "and the air clears. Then the three stones start to glow a\n haunting incandescent white.", "A mother rushes into the hut now and kneels and hugs her little\n boy. His skinny arms go around her as they are reunited. Indy\n stands slowly and looks at what the little boy gave him --", "INDIANA (Cont'd)\n The last Sankara Stone.\n\n Short Round watches Willie take it carefully from Indiana. She\n gazes at it and looks delighted --", "Suspiciously, Indy touches the stone, but it doesn't burn. He\n lifts it carefully and peers into it. The enormous diamond\n sparkles inside. He places the stone in his shoulder bag and\n reaches for the others.", "WILLIE\n It's a real miracle.\n\n SHAMAN\n Now you see the magic of the\n \"rock\" you bring back.", "The smoke is drawn to the three stones and they actually start in-\n haling the piraling smoke. The smoke disappears into the stones", "Recurling the whip, Indy attaches it to his belt and moves to-\n ward the towering statue of Kali. The three Sankara stones start\n to glow and Indiana approaches them cautiously.", "The old shaman smiles wisely at Indiana. Indy takes the stone\n out of his bag and unwraps it.\n\n INDIANA\n Yes, I've seen its power", "Indy sees the stone in his hand suddenly cool. He watches Mola\n Ram plummeting downward into the chasm and finally crashing into\n the jagged rocks at the bottom.", "Indy shifts the bag of stones on his shoulder. He hesitates and\n considers his choice: he has the Sankara Stones and can leave\n with them now...", "INDIANA\n Was the stone very smooth?\n (he sees the\n chieftain nod)\n It was probably brought here from\n a sacred river.", "All three of them groan as they raise the boulder and shove it\n off the back of the car -- ducking instantly to avoid being de-\n capitated by the next beam!" ], [ "Black clouds clot across the blood-red sky as darkness falls.\n Indiana, Willie and Short Round sit tensely on a shabby rug.\n Above their heads, there is a thatched roof, but there are no\n walls.", "Indeed, Zalim Singh is only thirteen. Outfitted in silver and\n gold brocade, festooned with enormous jewels, the litlle Mahara-", "The Duesenberg tears around the square, followed by Lao's two se-\n dans. People on the street dive for cover -- coolies pulling", "Indiana takes a seat across the table from Shanghai's notorious\n crime-lord. Lao is fifty, wealthy enough to now display some\n fat, but still muscular from his fight to the top of the garbage\n heap.", "As Indy turns and starts off, Willie reaches up to the tree\n branch above her head and grabs her underwear. At this moment we\n notice something awful:", "The man groans and sinks to his knees. Willie sees that Short\n Round is in trouble. She runs over, leaps onto the back of the\n other guard and starts ripping his hair out.", "They watch him run and hurdle a pile of lumber, bound up three\n steps and duck behind a tool shack on the platform. Indy reaches\n out and grabs one of the passing slave children.", "He looks at her bewildered face and smiles faintly. As they\n walk, a hot wind swirls dust around them, a wind slowly ravaging\n what soil is left in this terribly blighted region.", "A ways off, Willie stands wrapped in a blanket watching Shorty\n and the elephant as she dries her hair by a campfire. Now Indy\n comes up and drops an armload of wood for yet another fire.", "All heads turn toward an unfortunate, struggling Indian begin\n dragged out by priests. The man's face and body are wildly\n painted. He screams again as he's tied onto a square iron frame\n laying atop a large flat stone.", "The giant gong rolls and echoes as it crashes down the marble\n steps. Indiana ducks behind it as it gains momentum and rolls\n across the dance floor.", "She picks up her plate and gently hands it back to the women.\n The chieftain finally speaks to them --\n\n CHIEFTAIN\n You will rest here before you go\n on.", "They see horses galloping through a narrow pass -- the British\n cavalry is returning. Captain Blumburtt and the first troops draw\n up their forses and dismount quickly.", "An eerie wind rises and howls. The old man places his palms to-\n gether and moves his hands up to touch his forehead. Willie and", "Indy is lying on the rocky floor of a dark cave/cell. He lifts\n his hands and discovers that they are chained. In the murky\n light, he sees Short Round sitting in chains across the cell.", "He puts his arms around her and feels her trembling from fear and\n anger. He walks her to the bed and helps her sit down --", "Willie rushes out of her room and runs through the deserted pal-\n ace looking for help. She flies down the moonlit corridors, past\n the huge wall paintings.", "Indy walks against the rising wind and looks around. The village\n is asleep and seems deserted. Then he turns and sees something.\n\n We follow small bare feet stumbling through the dust...", "She smiles at him again and then turns around -- and whistles as\n she sees Pankot Palace: a sprawling, monumental mixture of Mo-", "This the other tables definitely notice. There are screams and\n all hell breaks loose. Indiana shoves past Willie and reaches\n for the vial on the table --" ], [ "Indiana spins Short Round and clutches his throat. As Indy\n strangles him, Short Round struggles and finally jams the torch", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "The huge assassin stands behind Indy, twisting the cord even\n tighter around his neck. As Indy attempts to break free he", "Indiana rips the cord from around his neck and gasps for breath.\n He sees the assassin pulling a knife. Indiana dives as the knife\n flies through the air and slams into the wall.", "Indiana grabs his whip, rolls and lands on his feet. As the ass-\n assin tries to retreat, Indy unleashes his whip -- it CRACKS and\n wraps around the killer's neck.", "Chattar Lal finally leaps onto the crankwheel platform and Indy\n sees him pull a dagger. He slashes at Indiana and Indy has to", "The car is being dragged up the dump ramp and the giant jumps out\n onto it after Indiana. Indy quickly grabs a rock and, as the\n giant rushes him, Indy smashes the rock against the big man's\n skull!", "Indiana slams kis knee up into the guard's stomach and then\n smashes his fist down on his neck -- the man collapses. Indy\n hears more gunfire.", "Indy flails and feints and the Thuggee guard lunges and slashes.\n Indy finally gains the upper hand and dispatches the Thuggee\n guard who slumps defeated into the dirt.", "Indy is lying on the rocky floor of a dark cave/cell. He lifts\n his hands and discovers that they are chained. In the murky\n light, he sees Short Round sitting in chains across the cell.", "Short goes over and turns off the fan -- the assassin's body\n drops and Indy recoils his whip. Suddenly they hear a hideous\n scream -- Willie!", "On the platform, the priest lunges at Indiana -- Indy uses the\n man's own momentum to throw him over his head. Indy then dives\n for the crankwheel and manages to stop it --", "Meanwhile, Short Round jumps onto the platform with Indy and\n grabs a long wrench. He starts swinging the wrench, keeping the\n last priests off the platfrom.", "Indy suddenly kicks the dagger from Chattar Lal's hand slugs him\n in the stomach and dives toward the cogwheel mechanism. He grabs\n a iron rod and throws it into the gears --", "Mola Ram nods and two guards grab Indy. They drag him struggling\n to a rock and chain him to it. Short Round scuffles as he's\n pulled aside to watch.", "Suddenly the assassin does a full-blown backward sommersault\n which rips the whip out of Indy's hand. The assassin has an in-\n stant to grin victoriously --", "Indy sees more Thuggee guards rushing out of the tunnel behind\n him. He turns and sees two of the tmeple guards who captured\n Willie and Short Round coming across the bridge in front of him.", "Indiana springs into action, stopping another priest with a quick\n punch in the stomach. Then he rushes over to the crankwheel and", "The pick-axe cleaves into the conveyor belt and the giant lurches\n forward -- Indy gives him a helpful kick, sending the giant\n flying toward the rock-crusher as Indy jumps off the conveyor\n belt!", "Indy sees Mola Ram quickly collecting the sacred Sankara Stones.\n Indiana rushes over and spins Mola Ram around --" ], [ "The little Maharajah whirls and lashes the whip again. Indiana\n jerks as the bullwhip rips through his shirt and tears open his", "The Maharajah turns and sticks the doll into a flaming urn. In-\n diana suddenly cries out and twists in pain as he is burned! The", "The Maharajah glares are Short Round and five the whip to Indy.\n\n MAHARAJAH\n You will show me how it works\n please.", "Suddenly the Maharajah cracks the whip -- it lashes out and cuts\n into Short Round's shoulder. Blood appears and Short Round looks", "The little Maharajah pulls a small krtya from his robes -- Indy\n sees that the doll has been crudely fashioned to resemble him.", "Now, the little Maharajah comes over with his retinue and he\n reaches for Indy's whip which Short Round is carrying.", "Finally, the little Maharajah lets the whip fall limp. As the\n Maharajah approaches Indy, Short Round lunges as him angrily but\n the guards restrain him.", "As the guards turn Indy face down, they rip off his jacket and\n chain his ahnds to the rock. The Maharajah uncurls the whip -- he\n notices Short Round smiling snidely --", "The little prince rolls on the ground and tries to fight off\n Short Round who keeps jabbing him -- suddenly the Maharajah\n swings and the pin is accidentally rammed clear through his hand!", "flesh. The Maharajah lashes again and again -- blood spurts\n across Indy's tattered shirt.", "Short Round yanks the pin out of the little prince's hand. The\n Maharajah looks like he's jsut awakened from a bag dream.", "Shorty sees the pin sticking through both sides of the kid's\n hand. The Maharajah stares at his pierced hand, gasping in\n astonishment.", "There's a stunned silence -- then Short Round laughs at the\n little prince who is holding his wounded cheek. The incensed Ma-\n rahajah suddenly flashes the whip as Short Round.", "Maharajah's pin piercing his face. The giant raises the pick-axe\n above his head and it about to split Indiana in two!", "Short Round sulks as he listens to Indiana instructing the Maha-\n rajah on how to hold the whip. As the young prince practises the", "Short Round dashes across the balcny and tackles the Maharajah.\n They fall and fight like mortal enemies. Short Round sees the\n little Maharajah's eyes glowing as he punches him in the face.", "The Maharajah finally sits down on golden pillows. He nods and\n his guests take their seats. Indiana sees Willie's dreams of\n queendom have vanished.", "Suddenly he spits the blood, spraying Mola Ram and the little\n Maharajah. Looking at his blood-splattered clothes, the Mahara-\n jah is furious.", "MAHARAJAH\n I have heard the terrible stories\n of the evil Thuggee cult...\n\n When the little Marahajah speaks it surprises everyone and there\n is silence.", "Meanwhile everyone watches respectfully as the Maharajah unfurls\n the whip for his first attempt. He flings the whip but it flies\n back and snaps -- biting his own cheek." ], [ "Thirty yards upstream, birds and monkeys chatter in a tree. In\n the shady river beneath, Willie surfaces cooly and wipes hair\n from her eyes. She hums contendedly.", "The raft drifts out of the main part of the river and glides to-\n ward a clearing. Its three soaked and bedraggled passengers lie\n motionless in the bottom.", "Indiana wanders up the riverbank in his dripping trousers. He\n notices Willie's wet clothes spread over a tree limb hanging low\n over the water and then he sees Willie paddling around.", "50. EXT. A RIVER - LATER AFTERNOON 50.", "Indy hears the scream and hears Willie calling to him. He runs\n back toward the river. Stopping on the riverbank, he sees Willie", "Willie gets vertigo looking down into the gorge where the water\n crashes at the bottom. There crocodiles are disturbed and\n slither angrily.", "On the riverbank, Indy reaches down and grabs a piece of wood.\n But as he watches the repulsive reptile, he starts to sweat and\n his fear and loathing overpower him --", "The irritated crocodiles are disturbed once more -- but soon wel-\n come the meal that just dropped in. Jaws flash and teeth rip at\n the High Priest's likeless corpse.", "Indy runs along the riverbank, trying to get closer to her, but\n not about to jump into the river (due to his aversion to snakes\n -- see Episode One: \"Raiders of the Lost Ark\").", "Indiana looks relieved. He sees the snake starting to drift away\n from Willie and she starts paddling back to shore, collecting her\n floating clothes along the way.", "A plume of water sprays. The three elephants submerge in a deep,\n wide spot in the river. Indy wades in the current with his shirt\n off. He and the guide splash water on the weary animals.", "Willie looks at the changed landscape and seems astonished: the\n barren countryside has been reborn. They see streams flowing\n beneath green trees, flowers blooming and peasants harvesting\n golden grain in the fields.", "The three elephants stand sucking up river water with their\n trunks. Seated on the huge beasts, Willie, Short Round and Indi-\n ana watch the thirsty animals.", "They all holler in unison and start running like bats out of hell\n toward the daylight. The towering wall of water surges relent-\n lessley after them --", "leaves, dead birds, rodents and turtles. Indiana grimaces as he\n lifts a necklace of real pierced human fingers...", "34. EXT. THE RIVER 34.\n\n The life raft drifts down the river and Indy looks around and\n smiles cockily at Willie and Short Round --", "The raft plunges into the roaring torrent, bouncing over rock-\n swollen waves, twisting and spinning through narrow gaps. The", "Continuing its downhill run, the raft smashes across a small\n steam, sending silvery water spraying.", "(shrugging)\n I just came over to remind you\n that you never know what else\n might be in the water.", "As the raft skids below the snow-level, it starts bouncing over\n rocky ground and its three passengers' teeth start chattering." ], [ "Suddenly he spits the blood, spraying Mola Ram and the little\n Maharajah. Looking at his blood-splattered clothes, the Mahara-\n jah is furious.", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "As the drum booms three times more, Mola Ram lifts one arm\n up from his emaciated body and suddenly there is a scream!", "The blazing stones sear Mola Ram's flesh and he screams in pain.\n The light suddenly dies in his eyes and for one instant he looks\n at Indy as if awakened from a nightmare --", "Suddenly Mola Ram's hand shoots out toward the man's chest -- and\n pierces it! The High Priests hand sinks into the victim's\n writing body and rips out his living heart!", "Mola Ram stands on a platform watching the huge cistern slowly\n keel over -- the noise is incredible as the colossal tank crashes\n to the ground!", "Mola Ram opens his eyes and he sees Indiana and Short Round\n standing in chains before him.\n\n MOLA RAM\n You were caught trying to steal\n the Sankara Stones.", "Indeed, the bloody heart is still beating in Mola Ram's hand!\n He lifts the heart into the air and the worhippers begin the chant.", "Mola Ram stands facing Kali with his arms outstretched and\n kneels and bows and then walks off the altar and disappears.", "Mola Ram shouts at his priests and another one of them runs to-\n ward Indy on the platform. Short Round dives and tackles the\n priest.", "And once again the three sacred Sankara Stones glow magically.\n Mola Ram materializes evilly amidst the swirling smoke and he\n begins chanting in Sanskrit.", "Mola Ram shoves the luckless guard down onto Indy, trying to\n dislodge him by sacrificing the screaming Thuggee. Indy manages", "Mola Ram steps forward to the stretched-out victim and the Indian\n looks up into the High Priest's grotesque face --", "Indiana crawls up as the bridge starts to burn from the continu-\n ing bursts of fiery arrows. At the top, Mola Ram reaches up des-\n perately for a hand old -- Willie smashes his hand with a rock!", "As Indy pronounces the magical words, the bag begins glowing and\n starts to burn Mola Ram as he clutches it -- the stones begin to\n spill out of the bag and the High Priest grabs from them.", "The irritated crocodiles are disturbed once more -- but soon wel-\n come the meal that just dropped in. Jaws flash and teeth rip at\n the High Priest's likeless corpse.", "Willie stands at the edge of the gorge looking down into the riv-\n er far below.\n\n WILLIE\n I guess Mola Ram got what he\n wanted.", "He slugs the High Priest in the face and Mola Ram keels over\n backwards against the statue of Kali. Short Round helps stuff\n the Sankara Stones into Indiana's shoulder bag.", "Mola Ram shouts to his men -- two of them pull pistols and open\n fire!" ], [ "Indy flails and feints and the Thuggee guard lunges and slashes.\n Indy finally gains the upper hand and dispatches the Thuggee\n guard who slumps defeated into the dirt.", "But Indy hears the pleading cries of one child and peers down to\n see a burly Thuggee guard beating the pitiful little slave. Indy\n gets angrier and angrier as he watches.", "Indy gets to his feet and immediately finds himself about to en-\n gage in a sword duel with the enraged Thuggee guard. Indy looks", "Indiana runs out of bullets. He sees the car behind getting\n closer. He tosses the pistol and hits a Thuggee in the head.\n Another Thuggee retrieves Indy's pistol and starts reloading it.", "Indy sees more Thuggee guards rushing out of the tunnel behind\n him. He turns and sees two of the tmeple guards who captured\n Willie and Short Round coming across the bridge in front of him.", "In front of Indy, the Thuggee giant grabs a pick-axe as the con-\n veyor slides past a tool bin. The giant approaches Indy with it.", "Suddenly she turns and screams as two huge Thuggee guards rush\n at them! One grabs at Short Round but the kid slashes the\n guard's hand with his dagger.", "We see Indiana above and the boulder hurtling down -- it crashes\n onto the head of the Thuggee guard who hits the ground like a\n sack of cement!", "Indiana spins Short Round and clutches his throat. As Indy\n strangles him, Short Round struggles and finally jams the torch", "Indy won't let go. Suddenly the High Priest reaches up and grabs\n his own Thuggee guard and yanks his down by the front of his\n shirt --", "Indiana stops pacing and Willie freezes in terror. Now a bizarre\n yellow light wipes across the room. Indiana turns and watches\n silently as two Thuggee guards emerge from a secret doorway\n that's opened --", "The sash around his waist gets caught under the rolling cursher\n and he's dragged back under it feet first. The Thuggee giant\n screams hideously as his body is rolled over and squashed by the\n enormous stone wheel!", "Mola Ram shoves the luckless guard down onto Indy, trying to\n dislodge him by sacrificing the screaming Thuggee. Indy manages", "Indiana rips the cord from around his neck and gasps for breath.\n He sees the assassin pulling a knife. Indiana dives as the knife\n flies through the air and slams into the wall.", "As bullets smash into the statue, Indiana hides behind it. Then\n he jumps out and swings the large sword toward the enormous brass\n gong.", "Indy suddenly kicks the dagger from Chattar Lal's hand slugs him\n in the stomach and dives toward the cogwheel mechanism. He grabs\n a iron rod and throws it into the gears --", "Chattar Lal grabs a pistol from an unconscious guard and Indiana\n whirls to see him pointing it -- Indy kicks the gun from his hand\n and suddenly Chattar Lal starts shouting in a terrifying voice --", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "Indiana and Short Round stumble into the chamber. It is a terri-\n fying gallery of occult yantras, ritualistic statues and grisly\n icons of the evil Thuggee sect.", "The little Maharajah whirls and lashes the whip again. Indiana\n jerks as the bullwhip rips through his shirt and tears open his" ], [ "Indiana seems skeptical as he kneels to study the shrine. On top\n of the pile of rocks, there is a carved niche. The niche is", "They fall back and see they've exposed a vein of molten lava!\n Hearing their shouts, the fat guard returns -- yelling at their\n stupidity, he whips them and shoves them aside brutally.", "All three of them groan as they raise the boulder and shove it\n off the back of the car -- ducking instantly to avoid being de-\n capitated by the next beam!", "Short Round sweats next to the others, clawing at the rocks,\n doomed to work with them now in their search for the last wo\n Sankara Stones.", "Straining to lift the rocks into the mine cars, several of the\n children slip and fall. Bare-chested Thuggee guards shout at the\n enslaves children and kick those who've fallen.", "As the cars rise up the ramp, they tip and spill rocks onto the\n conveyor belt which carries them toward an awesome stone cylinder\n that rolls relentlessly , crushing the rocks into sand.", "INDIANA\n Something magical. A sacred rock.\n\n CHATTAR LAL\n (condescendingly)\n There, you see, Captain. A rock!", "Willie gets vertigo looking down into the gorge where the water\n crashes at the bottom. There crocodiles are disturbed and\n slither angrily.", "He looks around and spots a small rock protruding from the wall.\n Cautiously, praying htat it won't activate another booby trap,\n Indy pushes the rock.", "Suddenly Indy drops the boulder and grabs him arm, feeling a\n shooting pain again. Then he yells as he feels yet another stab-\n bing pain in his left leg.", "rocks to illuminate them. The shaman makes a gesture of devotion\n to the primitive shrine and Indy speaks to the village chieftain.", "Short Round looks worried. Then the wind rushes past them quickly\n and howls its somber musical note. However, the wind sounds dif-\n ferent this time, its tone quavering slightly.", "But the other guards push and beat the children back to work.\n Short Round is shoved against a wall and groans -- he reaches over\n and grabs a large rock, lifting it defiantly --", "But rather than heaving it at the guard, Short Round smashes the\n rock down on the leg chains binding him to the other children.\n Shorty beats at the chain with the rock, determined to escape.", "She walks over to where he's lying down and sits on a boulder.\n He hands her the cloth and she looks at it by the firelight.", "Only a few feet away from the rock-smashing roller, Indy is still\n on his back on the conveyor belt, thrashing in pain, feeling the", "On the conveyor belt, Indy yells agonizingly and clutches his\n stabbed face! Behind him, rocks explode as they're crushed and\n pulverized by the mammoth roller.", "He edges along the narrow ledge toward the bridge and Willie\n follows him. Once under the bridge, they start climbing up the\n rocks to it.", "The leather strap suddenly flays Short Round's back and he barely\n manages not to scream out in pain. The fat guard passes -- Short\n Round and the other kids pull a large rock which suddenly comes\n loose out of the wall -- !", "The guard screams and falls to the ground, thrashing about, try-\n ing to kick the searing lava off his smoking flesh." ], [ "A door opens at the rear of the plane and Indiana Jones exits\n wearing more familiar attire: a beat-up leather jacket over a", "A two-engine passenger plane is revving its motors and the last\n passengers are boarding. The Duesenberg squeals to a stop and\n Indy jumps out with Willie and Short Round right on his heels.", "Willie and Short Round charge up the ladder and onto the plane.\n Indy pauses at the top of the steps to give Lao a cocky farewell", "Suddenly the DC-3 emerges out of a cloud and Indy sees they are\n headed directly for a mountain! He pulls back hard on the con-\n trols as a rocky peak looms lethally in front of them.", "The Duesenberg swings around a curve and skids through gravel to-\n ward the airfield. In the distance there is a small terminal but\n Short Round wheels the car toward the cargo area --", "Indiana picks up his whip and attaches it to his belt as Willie\n runs over to him.\n\n WILLIE\n There's nobody flying the plane!", "The second plane swoops down and Short Round blasts away. This\n time as he swivels the gun, he misses and hits one of the DC-3's\n own engines and it explodes!", "The door flies open and Indy rushes in with Willie behind him.\n Indy appraises the situation quickly and jumps into the pilot's\n seat with total confidence --", "KAO KAN\n (into the radio)\n Jones! Indiana Jones!\n\n The two planes roar off and start strafing the DC-3 again.", "Finally, an instant before the plane will hit, Indy dives and\n pulls the inflation cord!\n\n31. EXT. THE SKY 31.", "Indiana spots the rolling mine car racing across the quarry. Indy\n takes off and runs along the catwalk -- bullets explode around\n him, splintering wood. Indy reaches the end of the catwalk --", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "INDIANA\n The airport...No, look out,\n Short Round! Left, left!\n\n Indy reaches over the front seat and helps Short Round navigate.", "While Short Round grabs a small bag out of the car, Weber and a\n stewardess take their tickets and rush them all toward the air-\n plane.", "The plane starts taxiing. By the cars, Lao is buffeted by the\n prop wash as he angrily watches the plane roll away. Behind Lao,", "Bullets whiz past as Indiana sails in the air above the speeding\n mine car - when they are in sync, Indy lets go and drops into the\n mine car next to Willie and Short Round!", "The pick-axe cleaves into the conveyor belt and the giant lurches\n forward -- Indy gives him a helpful kick, sending the giant\n flying toward the rock-crusher as Indy jumps off the conveyor\n belt!", "21 INT. THE PASSENGER CABIN 21.\n\n As the air battle rages, the passengers are tossed about and some\n start screaming. Short Round peers out a window.", "salute. Indy boards the plane and the co-pilot slams the door.", "Suddenly he dives into the air and catches hold of a block and\n tacke! Indy skids along the pulley system, sliding down a cable\n toward the mine car in which Short Round and Willie are riding." ], [ "Shorty is convused and worried -- and then he sees something! He\n looks up and there on a rock-cut balcony over the cavern is the\n little Maharajah!", "He pulls Willie down to the floor and shoves her the ammunition\n belt that's draped toward the gun. Then Shorty jumps behind the\n machine gun --", "A ways off, Willie stands wrapped in a blanket watching Shorty\n and the elephant as she dries her hair by a campfire. Now Indy\n comes up and drops an armload of wood for yet another fire.", "Indiana sees Shorty shooting his pistol out the side door as the\n planes swoop by again. Out of ammo, Shorty throws the gun\n angrily at the passing plane.", "But rather than heaving it at the guard, Short Round smashes the\n rock down on the leg chains binding him to the other children.\n Shorty beats at the chain with the rock, determined to escape.", "The guard's eyes, which were glowing yellow before, are now dim-\n ming and returning to normal. The moaning guard looks at Shorty\n thankfully and then looks around as if waking from a nightmare --", "The man groans and sinks to his knees. Willie sees that Short\n Round is in trouble. She runs over, leaps onto the back of the\n other guard and starts ripping his hair out.", "In the first row, Willie is busy fixing her make-up. Shorty sits\n in the seat across the aisle from her. Indy comes up and drops\n his tuxedo onto the floor.", "Across the cavern, Willie shoves the rolling mine car toward the\n balcony.\n\n WILLIE\n Get down here, Shorty! I got us\n a ride!", "Chattar Lal watches approvingly -- a priest moves toward Shorty.\n Chattar Lal looks back toward the crevasse --", "Willie runs screaming out of the cockpit, her last hope shatter-\n ed. Shorty is pulling something out of the cargo compartment --\n he's found a machine gun and sets it up on a short tripod.", "Short Round sweats next to the others, clawing at the rocks,\n doomed to work with them now in their search for the last wo\n Sankara Stones.", "Indiana kneels and arranges the wood.\n\n INDIANA (Cont'd)\n Shorty's family was killed when\n they bombed Shanghai. He was\n living on the streets.", "INDIANA (Cont'd)\n Okay, Shorty -- go!", "SHORT ROUND\n No -- Indy -- wake up!\n\n Then Shorty sees a flaming torch hanging on a wall bracket and he\n has an idea.", "SHORT ROUND\n Indy?\n\n INDIANA\n Okay, Shorty.\n\n Indy looks over at Willie who is moaning.", "Shorty sees the pin sticking through both sides of the kid's\n hand. The Maharajah stares at his pierced hand, gasping in\n astonishment.", "The little boy's eyes open and he begins to revive. Shrot Round\n And Willie watch from a corner as the little boy looks at all the\n faces peering down at him.", "SHORT ROUND\n (indicating the kid)\n This is Nainsukh -- from the vil-\n lage. They bring him here to dig\n in the mines.", "Indy takes Short Rund by the shoulders and turns him away from\n the grisly sight." ], [ "Stranger still, the sacrificial victim is still alive -- there is\n no evidence of a gash on his chest, only a reddish mark The", "Suddenly htere is a heart-rending scream of terror and the\n priests draf forward the next sacrificial victim --", "All heads turn toward an unfortunate, struggling Indian begin\n dragged out by priests. The man's face and body are wildly\n painted. He screams again as he's tied onto a square iron frame\n laying atop a large flat stone.", "As the sacrificial victim looks down into the crevasse below --\n he screams -- and we see the molten lava bubbling crimson at the\n bottom of the chasm!", "to hang on. The Thuggee is less fortunate and falls screaming to\n his death.", "Suddenly he spits the blood, spraying Mola Ram and the little\n Maharajah. Looking at his blood-splattered clothes, the Mahara-\n jah is furious.", "Suddenly Mola Ram shoves Short Round out onto the bridge. The\n High Priest draws a dagger and pushes Willie onto the swaying\n span, holding the knife behind them both.", "Fresh blood has been splashed over the statue and at its base are\n the three Sankara Stones recovered from Indiana. Mola Ram sits\n in a yoga position near the statue of Kali.", "A sea of frightening faces once again intones the horrible sacri-\n ficial chant. Among the shorshippers, the little Maharajah sits", "Suddenly Mola Ram's hand shoots out toward the man's chest -- and\n pierces it! The High Priests hand sinks into the victim's\n writing body and rips out his living heart!", "As the drum booms three times more, Mola Ram lifts one arm\n up from his emaciated body and suddenly there is a scream!", "A huge drum sounds three times and the chanting stops. The\n silence is chilling as another robed figure appears out of the\n some on the altar.", "The sacrificial frame finally rises up into view and Indiana\n grabs it and swings it over onto the platform. He looks at Wil-\n lie anxiously as he releases her bindings --", "Moal Ram raises both hands and his voice echoes strange incanta-\n tions. Behind him, three priests carry cloth-wrapped objects to-\n ward the altar.", "Indeed, the bloody heart is still beating in Mola Ram's hand!\n He lifts the heart into the air and the worhippers begin the chant.", "The wind moans and joins Mola Ram's voice echoing maniacally over\n the multitude gathered in the enormous temple. On his throne,\n the little Maharajah listens transfixed.", "Up in the temple, Willie continues to struggle as her legs are\n strapped to the iron sacrifical frame. Chattar Lal grabs her", "Willie stands at the edge of the gorge looking down into the riv-\n er far below.\n\n WILLIE\n I guess Mola Ram got what he\n wanted.", "The irritated crocodiles are disturbed once more -- but soon wel-\n come the meal that just dropped in. Jaws flash and teeth rip at\n the High Priest's likeless corpse.", "The blazing stones sear Mola Ram's flesh and he screams in pain.\n The light suddenly dies in his eyes and for one instant he looks\n at Indy as if awakened from a nightmare --" ] ]

[ "While Indy is traveling with Willie Scott and Short Round on the plane what happens to the pilot?", "What do Indy, Willie, and Shorty use to get out of the situation of a falling plane with no pilot?", "When they find other people in a village, what do those people want them to do?", "How do the Thugs worship the Hindu godess Kali?", "Why did the Thugs enslave the children?", "What does the blood of Kali do to Indy?", "How is Indy brought out of his trance?", "How does the group escape when cornered by the Mola Ram?", "What do Indy, Willie, and Shorty bring bag to the village?", "Who is the crime boss of Shanghai?", "Who is Short Round?", "From where does Indy flee on an airplane?", "What is discovered behind the statues?", "Who does the assassin attack?", "Who do the thugs worship?", "Who leads the thugs?", "Who is kept as a human sacrifice?", "Who tells shorty how to get out of the mines?", "Who is the missing stone returned to?", "What year does this take place?", "Who attempts to cripple Indiana Jones?", "What does the Maharajah use to hurt Indiana Jones?", "What lives in the river?", "What eats Mola Ram?", "What do the thugs try to kill Indiana Jones with?", "What is wrong with the rocks?", "Who owns the plane that Indiana Jones flees on?", "Where is Shorty put to work at?", "Who is a sacrifice?" ]

[ [ "He parachutes out of the plane. ", "The pilots parachute out of the plane." ], [ "Thye use an inflatable raft. ", "An inflatable raft" ], [ "They want them to retrieve a stone stolen from their shrine and find their children.", "Help retrieve the sacred Savalinga stone and their children." ], [ "With human sacrifice. ", "With human sacrifice." ], [ "To mine for the final two stones that they thought would allow them to rule the world.", "To work in the mine for the final two stones." ], [ "It puts him in a trance and he has to obey the Thugs. ", "It puts him into a mindless trance." ], [ "Shorty burns him to snap him back to reality.", "Shorty burns him with a torch" ], [ "Indy cuts the rope bridge that separates them and many fall into crocile infested water. ", "Indy cuts the rope bridge" ], [ "The missing stone and the missing children.", "The missing stone." ], [ "Lao Che", "Lao Che" ], [ "Indiana's side kick", "Indiana Jones's sidekick" ], [ "Shanghai", "Shanghai" ], [ "Series of tunnels", "A series of tunnels" ], [ "Indy", "Indiana Jones" ], [ "The hindu goddess", "the Hindu Goddess Kali" ], [ "Mola Ram", "Mola Ram" ], [ "Willie", "Willie Scott" ], [ "The Maharajah", "The Maharajah" ], [ "The villagers", "The villagers." ], [ "1935", "1935" ], [ "The Maharajah", "the Maharajah" ], [ "A voodoo doll", "a voodoo doll" ], [ "Crocodile", "Crocodilles" ], [ "A crocodile", "A mugger crocodile" ], [ "Arrows", "Arrows" ], [ "they are hot", "They glow red hot when they get too close to one another." ], [ "Lao", "Lao Che" ], [ "In the mines", "In the mines" ], [ "Willie", "Willie." ] ]

[ [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "<P ID=\"dia\">Do you remember high school?\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">It was a long time ago -", "<P ID=\"dia\">No, dude, Josie. We used to go out and she dumped me. But we're still good friends. And she is… amazing, if you know what I mean.", "</p><p><p ID=\"slug\">ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him.", "</p><p><p ID=\"slug\">ANGLE BACK ON JOSIE. She's seventeen.", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.", "</p><p><p ID=\"act\">Her friend, SHEILA, over-weight and pimply, comes running across the library at breakneck speed. She sits down next to Josie, visibly excited and pushes her index cards aside.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">My name is Josie. I'm a high school student. I came from --", "</p><p><p ID=\"act\">It's late. Josie is typing on her laptop, referencing notes from her notebook. Schoolbooks and homework are spread around her.\n</p><p><p ID=\"act\">END MONTAGE.", "</p><p><p ID=\"act\">Kids smile and snicker as Josie continues down the hallway. She spots, Billy Prince, ultmate high school heartthrob, and approaches him nervously.", "</p><p><p ID=\"act\">Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice.", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)" ], [ "</p><p><P ID=\"speaker\">ALDYS:\n<P ID=\"spkdir\">(sotto to Josie)", "</p><p><p ID=\"act\">Sitting next to Josie is ALDYS, a Denominator--intense, wise, with a whole bunch of math medals on her sweatshirt. She smiles at Josie.", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "</p><p><p ID=\"act\">Josie finds Aldys standing next to her.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Who's of they?", "</p><p><p ID=\"slug\">ANGLE BACK ON JOSIE\n</p><p><p ID=\"act\">Aldys approaches.\n</p><p><P ID=\"speaker\">ALDYS", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><p ID=\"act\">Aldys stares Josie down.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">What?", "</p><p><p ID=\"act\">Smiling at each other, Josie and Aldys", "</p><p><p ID=\"slug\">ANGLE BACK ON JOSIE AND ALDYS.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie's eyes shift from Sam to over his shoulder. She spots Aldys, who smiles at her. Josie's eyes travel up to the can of DOG FOOD.", "</p><p><p ID=\"act\">Josie indicates to Aldys she'll be right back and walks to the back of the restaurant by the pay phones.\n</p><p><P ID=\"speaker\">JOSIE", "points to the left, Aldys looks, and Josie stuffs a", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">I'm Josie. Aldys is an interesting name.", "</p><p><p ID=\"act\">Guy's right in Aldys' face, leaning over Josie. Aldys starts to drive away. Guy keeps his head in the window while he runs alongside the car.", "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">Aldys doesn't get it.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie smiles awkwardly at Aldys, covering the phone.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">SLOW MOTION as Josie lunges for Aldys", "</p><p><p ID=\"slug\">INTERIOR. CAFETERIA - DAY\n</p><p><p ID=\"act\">Josie turns with her tray after paying. Aldys sees her.", "</p><p><p ID=\"act\">In the middle of the track is Josie's car. The MARCHING BAND clumsily practices their formations around it. Josie and Aldys arrive at the car and Aldys pops the hood." ], [ "<P ID=\"dia\">And - this year's prom queen -\n</p><p><p ID=\"act\">Sam looks at the card, then at Josie. Josie is standing; eyes open, staring at the podium...", "</p><p><P ID=\"speaker\">SAM\n<P ID=\"dia\">Josie--you make a really beautiful prom queen.\n</p><p><P ID=\"speaker\">JOSIE", "<P ID=\"dia\">posed as a student and told you to like me. But y'know--l have to thank you. I got to go to an amazing prom. I got to be prom queen. I got to be cool. It felt good.", "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "</p><p><p ID=\"act\">And they begin to walk through the prom", "</p><p><p ID=\"act\">The crowd goes wild. Guy reaches the stage and takes his crown and scepter.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet.", "<P ID=\"dia\">You ruined the whole thing!\n</p><p><P ID=\"speaker\">KIRSTEN\n<P ID=\"dia\">You so do not deserve to be prom queen.", "</p><p><p ID=\"act\">The place is a flurry of activity, a staging area for prom. Various committees are set up at tables throughout the room.", "<P ID=\"dia\">Proms always make me sad. They're so final. Graduation. Everyone's scattering, moving on.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "</p><p><p ID=\"act\">The Crowd is rapt, waiting for the announcement. Anita has her eyes squeezed shut, praying for the win...", "prom queen or the quarterback or the biggest nerd in", "</p><p><P ID=\"speaker\">SAM\n<P ID=\"dia\">Next up - Southglen's Prom King", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">Josie, in all her prom splendor, waits out on the front porch for her date.", "</p><p><p ID=\"act\">WE FOLLOW Kristen's stare to the prom", "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">Prom night. And it really is magical.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively." ], [ "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "</p><p><p ID=\"act\">Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">As Josie rounds a corner, she comes face", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><P ID=\"speaker\">CROWD\n<P ID=\"dia\">Josie! Josie! Josie!", "</p><p><p ID=\"act\">Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same.", "</p><p><p ID=\"act\">Josie stands there, head still held high.\n</p><p><P ID=\"speaker\">CROWD", "</p><p><p ID=\"act\">Midway through Josie's speech, we hear the", "</p><p><p ID=\"act\">Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.", "</p><p><p ID=\"act\">Josie does. The sombrero drops over her", "</p><p><p ID=\"act\">Ms. Knox puts the sombrero on a less-than-thrilled Josie.\n</p><p><P ID=\"speaker\">MS. KNOX", "<P ID=\"dia\">Little known fact.\n</p><p><p ID=\"act\">Josie takes this in.\n</p><p><P ID=\"speaker\">ROB", "</p><p><p ID=\"act\">Josie looks stricken.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Josie Grossie.", "</p><p><p ID=\"act\">She points out Rob in the crowd. He's mortified.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">A surprised Josie looks up to see Sam next to her. She lets her condom go. And it flies off her banana into his face. Josie turns to Tracy.", "</p><p><p ID=\"act\">The crowd surges again. Josie, caught in", "</p><p><p ID=\"act\">She tears off her crown, and chucks it. She's on a roll.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie gets up and he slaps her", "</p><p><p ID=\"act\">Josie forces-a stoic smile. 1:00 is on the clock.\n</p><p><p ID=\"slug\">EXTERIOR. BLEACHERS - SAME" ], [ "</p><p><p ID=\"act\">Rob helps Josie up.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Are you crazy?! You can't do this.", "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Rob. Please focus.\n</p><p><p ID=\"act\">He puts his arm around her.", "</p><p><p ID=\"act\">Rob and Josie turn the corner.\n</p><p><P ID=\"speaker\">JOSIE", "<P ID=\"dia\">Hi there Robbie Rob.\n</p><p><p ID=\"act\">Josie sees Guy approach Rob, and shake his hand.", "</p><p><p ID=\"act\">OUT THE WINDOW, Josie sees her Buick with Rob at the wheel stopped at a red light. Detailed on to the side in big white script is:", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">She points out Rob in the crowd. He's mortified.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie and Rob enter.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">She's sixteen years old, Rob. That's totally and completely illegal.\n</p><p><p ID=\"act\">Josie feels an arm around her shoulder. It's Guy.", "</p><p><P ID=\"speaker\">ROB\n<P ID=\"dia\">No. Josie, this is real.\n</p><p><p ID=\"act\">She looks up.", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "</p><p><p ID=\"act\">Josie can't take her eyes off Rob sitting at Guy's table. Aldys notices Josie's distraction.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie turns around and gives him a death look. Tracy turns to Rob.\n</p><p><P ID=\"speaker\">TRACY", "</p><p><p ID=\"act\">Rob just shrugs.\n</p><p><p ID=\"slug\">EXTERIOR. JOSIE'S FRONT PORCH NIGHT (FLASHBACK)", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Hey Rob, what's going on?\n</p><p><P ID=\"speaker\">TRACY", "</p><p><p ID=\"act\">Monty takes the lei off her neck. Josie hands Rob an envelope. Rob rifles through the cash inside.\n</p><p><P ID=\"speaker\">ROB" ], [ "</p><p><p ID=\"act\">Sam gets into his car and drives off. Josie is devastated.", "</p><p><p ID=\"act\">Sam enters, still in sweats, carrying a book. He opens the fridge, grabs a beer, shuts it, is confronted by Josie's picture. He takes it down, looks at it.", "</p><p><p ID=\"act\">Josie's smile quickly fades.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">Sam looks deep into Josie's eyes.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">Sam lets the photo slowly drop from his hand into the trash.\n</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)", "\"get out of here\" movements. Sam notices Josie and follows", "</p><p><p ID=\"act\">Out of the shadows emerges Sam. The look on his face says he just heard everything.\n</p><p><P ID=\"speaker\">JOSIE", "I Kissed Her\" as Josie and Sam continue to kiss", "</p><p><p ID=\"act\">JIIAMY CLIFF is playing. The crowd sits at tables, grooving. Josie approaches the bar. A guy turns around--it's Sam.", "</p><p><p ID=\"act\">Josie's eyes shift from Sam to over his shoulder. She spots Aldys, who smiles at her. Josie's eyes travel up to the can of DOG FOOD.", "</p><p><p ID=\"act\">It feels like a lifetime before he reaches Josie, grabs her, pulls her close to him.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">Sam turns and starts to walk away.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Tommy stops. Sam turns to Josie.\n</p><p><P ID=\"speaker\">SAM\n (cont'd)", "</p><p><p ID=\"act\">Sam, standing by a vendor, looks over and notices Josie's predicament.\n</p><p><P ID=\"speaker\">TOMMY (O.S.)", "</p><p><p ID=\"act\">Josie exits the club, looking for Sam. George runs up to her.\n</p><p><P ID=\"speaker\">GEORGE", "</p><p><p ID=\"slug\">ANGLE ON SAM, listening. Josie is oblivious.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">A surprised Josie looks up to see Sam next to her. She lets her condom go. And it flies off her banana into his face. Josie turns to Tracy.", "</p><p><p ID=\"act\">Josie looks from Sam and Anita's smiling faces to find Guy smiling at her.", "</p><p><p ID=\"act\">CU on Josie's face. She's clearly uncomfortable. Sam walks up to a huge football player, BRETT.", "</p><p><p ID=\"act\">Josie and Sam share a look.\n</p><p><P ID=\"speaker\">JOSIE" ], [ "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "<P ID=\"dia\">I'm Rob's prom date.\n</p><p><p ID=\"act\">Josie glares at Rob.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "</p><p><p ID=\"act\">Sam gets into his car and drives off. Josie is devastated.", "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"act\">Rob opens the door still dressed in his Tiki Post outfit. He takes one look at Josie and knows that things are not good.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie storms into the den, and plants herself on the sofa. She sees that Rob has been watching baseball on T.V., and she turns it off.", "</p><p><p ID=\"act\">Josie turns around and gives him a death look. Tracy turns to Rob.\n</p><p><P ID=\"speaker\">TRACY", "<P ID=\"dia\">No, shut up, Josie. Just shut up.\n</p><p><p ID=\"act\">He storms off.", "</p><p><p ID=\"act\">She points out Rob in the crowd. He's mortified.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "</p><p><p ID=\"act\">Looks of confusion and teenage disgust. Rob is pissed. Sam looks shocked.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">She's sixteen years old, Rob. That's totally and completely illegal.\n</p><p><p ID=\"act\">Josie feels an arm around her shoulder. It's Guy.", "</p><p><p ID=\"act\">Rob helps Josie up.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Are you crazy?! You can't do this.", "<P ID=\"dia\">Proms always make me sad. They're so final. Graduation. Everyone's scattering, moving on.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Rob. Please focus.\n</p><p><p ID=\"act\">He puts his arm around her.", "</p><p><p ID=\"act\">Josie walks around the lot, getting visibly upset.", "</p><p><p ID=\"act\">Josie can't take her eyes off Rob sitting at Guy's table. Aldys notices Josie's distraction.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">And Josie proceeds to get up and take" ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.", "</p><p><p ID=\"act\">They all smile at her. Josie soaks in her newfound popularity.\n</p><p><p ID=\"slug\">INTERIOR. SCIENCE CLASSROOM - DAY", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice.", "</p><p><p ID=\"act\">Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables.\n</p><p><P ID=\"speaker\">CROWD", "</p><p><p ID=\"act\">Josie approaches her locker. She can't get to it because a COUPLE is busy making out against it.", "Josie does too. We zoom in on that shiny little", "</p><p><p ID=\"act\">Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans.", "</p><p><p ID=\"act\">Kids smile and snicker as Josie continues down the hallway. She spots, Billy Prince, ultmate high school heartthrob, and approaches him nervously.", "</p><p><p ID=\"act\">Josie, pulling the perfect tray down the cafeteria line. She reaches some awful-looking Cole slaw in a big vat. A CAFETERIA GUY in a plastic cap hovers above it.", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><p ID=\"act\">Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same.", "</p><p><p ID=\"act\">Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">The entire office is crammed into Gus's office. Anita sits up front, spellbound, watching the JOSIE CAM. Gus stands in back. Okay, he's a little interested too.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes." ], [ "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">You write obituaries.\n</p><p><P ID=\"speaker\">CYNTHIA", "</p><p><p ID=\"act\">Josie runs through the bullpen, past Anita's cubicle. ROGER from op/ed enters. He and Anita smile flirtatiously.", "pictures next to the article. One is Josie at age", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S APARTMENT - DAY\n</p><p><p ID=\"act\">Josie sits at her disk, typing on her laptop, engrossed.", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time.", "<P ID=\"dia\">Josie, I am appalled.\n</p><p><p ID=\"act\">Josie picks up the paper, and starts reading intently.", "day. Josie makes her way down the hall, clutching her", "</p><p><p ID=\"act\">Josie sighs, walks to her door. It's marked with a lopsided nameplate: Josie Geller, Copy Editor. She adjusts the plate so it's perfectly straight.", "<P ID=\"dia\">Told you. I'm over there.\n</p><p><p ID=\"act\">The camera swings to Josie entering. Rhoda, a young copy assistant, tails her, pen and paper in hand.", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"dia\">--notes here somewhere-(picking up paper)", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">It's packed. Reporters line the field. All eyes are on Josie.\n</p><p><P ID=\"speaker\">JOSIE\n (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)" ], [ "</p><p><p ID=\"act\">Josie sighs, walks to her door. It's marked with a lopsided nameplate: Josie Geller, Copy Editor. She adjusts the plate so it's perfectly straight.", "</p><p><p ID=\"act\">It's Josie Geller, 25, cute, blonde and scared out of her wits. We hear the chanting of a crowd.", "<P ID=\"dia\">Josie. Josie Geller.\n</p><p><P ID=\"speaker\">RIGFORT\n<P ID=\"dia\">You enroll on Friday.", "<P ID=\"dia\">Ladies and gentlemen – Josie Geller!\n</p><p><p ID=\"act\">The Crowd CHEERS like crazy, Josie smiles.", "</p><p><P ID=\"speaker\">ROB\n<P ID=\"dia\">Hey, you guys know that girl, Josie Geller?\n</p><p><P ID=\"speaker\">MATZ", "<P ID=\"dia\">Hi, Coach Romano, my name is Josie Geller, from the Chicago Sun Times Listen, you know the local sports guy for the Sun Times, Jim Lakin?", "this portion of my life. I, Josie Geller, will be", "<P ID=\"dia\">My own undercover feature - \"Written by Josie Geller\".\n</p><p><P ID=\"speaker\">ANITA", "</p><p><p ID=\"act\">CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "<P ID=\"dia\">I'm Josie. Geller. I think the school would probably be pretty comfortable with you calling, me that. Josie.\n</p><p><p ID=\"act\">Sam smiles.", "</p><p><p ID=\"act\">Josie runs through the bullpen, past Anita's cubicle. ROGER from op/ed enters. He and Anita smile flirtatiously.", "<P ID=\"dia\">I told you you could write, Josie Geller.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">I finally found my story.", "</p><p><p ID=\"act\">Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time.", "Josie does too. We zoom in on that shiny little", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S APARTMENT - DAY\n</p><p><p ID=\"act\">Josie sits at her disk, typing on her laptop, engrossed.", "</p><p><p ID=\"act\">Josie keeps going. A confused Rhoda stares after her. She passes Merkin's desk. He is still on the phone.", "</p><p><p ID=\"act\">Packed with office workers. Bustling with activity. The camera searches the crowd.\n</p><p><P ID=\"speaker\">JOSIE (V.O.)", "She continues on as Merkin stares after her. Josie reaches", "<P ID=\"dia\">Told you. I'm over there.\n</p><p><p ID=\"act\">The camera swings to Josie entering. Rhoda, a young copy assistant, tails her, pen and paper in hand." ], [ "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "She continues on as Merkin stares after her. Josie reaches", "day. Josie makes her way down the hall, clutching her", "</p><p><P ID=\"speaker\">ALDYS:\n<P ID=\"spkdir\">(sotto to Josie)", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"dia\">--notes here somewhere-(picking up paper)", "</p><p><p ID=\"act\">Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time.", "Tormented, Josie waits a beat. She can't take it,", "</p><p><P ID=\"speaker\">JOSIE\n (O.S.)\n<P ID=\"spkdir\">(small)\n<P ID=\"dia\">I'm okay.", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S APARTMENT - DAY\n</p><p><p ID=\"act\">Josie sits at her disk, typing on her laptop, engrossed.", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"spkdir\">(excited)", "it in Josie's face. It is a picture of all", "</p><p><p ID=\"act\">Josie stops at a desk where Merkin Burns, officious office assistant, is talking on the phone. He picks his nose with abandon as he talks, ignoring Josie.", "</p><p><p ID=\"act\">Josie walks past Merkin's desk. She holds out her hand to Merkin.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">We find Josie sitting at her small table", "</p><p><p ID=\"act\">CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.", "</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)" ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "day. Josie makes her way down the hall, clutching her", "</p><p><p ID=\"act\">Kids stream into school.\n</p><p><P ID=\"speaker\">JOSIE (V.O.)\n<P ID=\"dia\">What I found?", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">Josie stares at her class card and eyes the classrooms, totally lost. She approaches a boy in a flannel shirt and loose jeans.", "</p><p><p ID=\"slug\">INTERIOR. CLASSROOM - SAME\n</p><p><p ID=\"act\">Josie and her enormous bookbag enter. She takes a seat toward the back of the room.", "</p><p><p ID=\"act\">Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans.", "</p><p><p ID=\"act\">Josie starts to walk quickly, then run, through the gauntlet of' laughing and pointing kids.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"Denominators\" who all wear orange Denominator sweatshirts.", "</p><p><p ID=\"act\">Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables.\n</p><p><P ID=\"speaker\">CROWD", "</p><p><p ID=\"act\">Just then the classroom door opens. We see from Josie's perspective a blinding light, Josie squints. From the light emerges a shadowy vision of Billy Prince.", "</p><p><p ID=\"act\">Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice.", "and down the hallway towards their lockers. Josie stops in", "</p><p><p ID=\"act\">Josie nervously checks her reflection in the T.V. - just like she did eight years ago. She takes a deep breath, and goes out.", "</p><p><p ID=\"act\">Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time.", "</p><p><p ID=\"slug\">INTERIOR. COULSOM'S CLASSROOM - LATER\n</p><p><p ID=\"act\">Josie is standing, reading from her paper. Sam is rapt.", "Tormented, Josie waits a beat. She can't take it," ], [ "</p><p><p ID=\"act\">The group laughs and joins in, saying \"Hey Loser.\" Josie's face registers confusion.\n</p><p><p ID=\"act\">JOSIE-CAM POV:", "awkwardly to gather them. Josie looks at him - and", "Girls are present and socializing. Josie finally makes her way", "</p><p><p ID=\"act\">Josie sits with the COOL GROUP at a table. Kristen is making odd faces.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><P ID=\"speaker\">ALDYS:\n<P ID=\"spkdir\">(sotto to Josie)", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><p ID=\"act\">Josie and the Rasta's start to groove to the music. Josie looks over at Guy's table, sees they are toking off a small joint and passing it around.", "</p><p><P ID=\"speaker\">CROWD\n<P ID=\"dia\">Josie! Josie! Josie!", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"spkdir\">(excited)", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "Tormented, Josie waits a beat. She can't take it,", "it in Josie's face. It is a picture of all", "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"act\">Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"Denominators\" who all wear orange Denominator sweatshirts.", "</p><p><P ID=\"speaker\">JOSIE\n (O.S.)\n<P ID=\"spkdir\">(small)\n<P ID=\"dia\">I'm okay.", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "</p><p><p ID=\"act\">Josie quickly gathers her things and moves one row forward, next to two empty seats. TWO STONERS shuffle over to Josie.", "</p><p><p ID=\"act\">Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables.\n</p><p><P ID=\"speaker\">CROWD" ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "Josie does too. We zoom in on that shiny little", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "She continues on as Merkin stares after her. Josie reaches", "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"act\">Josie and the Gang leap up and cheer. Josie almost loses her top, but catches it, just as Guy comes around the side of the stands and notices Josie.", "</p><p><p ID=\"act\">Kids smile and snicker as Josie continues down the hallway. She spots, Billy Prince, ultmate high school heartthrob, and approaches him nervously.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "Josie can even see who it is, she slams into", "Josie can even see who it is, she slams into", "</p><p><p ID=\"act\">Josie jumps up and down and hugs Gus, who is clearly uncomfortable.\n</p><p><P ID=\"speaker\">GUS", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "</p><p><p ID=\"act\">Josie walks toward her locker, the Make out Couple is at it again. Josie's fed up. She taps the Boy on his shoulder.", "</p><p><p ID=\"act\">Josie approaches her locker. She can't get to it because a COUPLE is busy making out against it.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.", "Tormented, Josie waits a beat. She can't take it,", "and down the hallway towards their lockers. Josie stops in" ], [ "<P ID=\"dia\">That's the old drive-in. They call it \"The Court\". Now it's just a continuous party for Guy's group.", "Guy- they are all posing for the picture at The", "</p><p><p ID=\"act\">She sees Guy's group sitting at a table", "looks at her. She smiles. And now it is Guy", "</p><p><p ID=\"act\">Guy smiles. Josie looks like she's going to hurl. She looks down the hall the other way- where a huge banner hangs that reads:", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><p ID=\"act\">Guy's right in Aldys' face, leaning over Josie. Aldys starts to drive away. Guy keeps his head in the window while he runs alongside the car.", "<P ID=\"dia\">Until Guy tells them to go. Once they watched me for like two hours. I found my car the next day in the T.J. Maxx parking lot.", "to face with Guy, who is at his locker. He", "</p><p><p ID=\"act\">Aldys takes off. Josie looks down the hall, where Guy, Kristen and the others are all looking at a flyer pasted to the wall.", "Guy's table.", "</p><p><p ID=\"slug\">EXTERIOR. HIGH SCHOOL - DAY\n</p><p><p ID=\"act\">We focus in on Guy, as he takes the front steps two at a time-", "</p><p><p ID=\"act\">Guy, his buddies, Kirsten, Kristen and Gibby, sign yearbooks, hang out by the lockers-", "</p><p><p ID=\"slug\">EXTERIOR. PARKING LOT - DAY\n</p><p><p ID=\"act\">Guy, Tommy and Jason, as they get out Guy's car, in the parking lot-", "</p><p><p ID=\"slug\">EXTERIOR. TRACK - DAY\n</p><p><p ID=\"act\">Rob stands behind the bleachers with Tommy, Jason, and Guy.", "</p><p><P ID=\"speaker\">GUY", "</p><p><P ID=\"speaker\">GUY", "</p><p><P ID=\"speaker\">GUY", "</p><p><p ID=\"act\">CU ON GUY\n</p><p><p ID=\"act\">walking with his group.\n</p><p><P ID=\"speaker\">GUY", "<P ID=\"dia\">Hi there Robbie Rob.\n</p><p><p ID=\"act\">Josie sees Guy approach Rob, and shake his hand." ], [ "</p><p><p ID=\"act\">Josie jumps up and down and hugs Gus, who is clearly uncomfortable.\n</p><p><P ID=\"speaker\">GUS", "</p><p><p ID=\"act\">Gus looks up at Josie.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Gus angrily tries to fold the paper back 'up. He's having a hard time. Josie tries to help, but he yanks it away. Gus reads aloud from the newspaper.", "</p><p><p ID=\"act\">Gus slams down his phone.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"spkdir\">(into a dead phone)", "</p><p><p ID=\"act\">Josie picks it up, and starts reading.\n</p><p><P ID=\"speaker\">GUS", "<P ID=\"dia\">Geller, this is way out of your league.\n</p><p><p ID=\"act\">Josie takes in Anita and Gus.", "</p><p><p ID=\"act\">Josie walks out of Gus's office, continues, determined, towards the elevators. Anita falls into step with her.\n</p><p><P ID=\"speaker\">ANITA", "</p><p><p ID=\"act\">Gus and Anita just stare at Josie.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "</p><p><p ID=\"act\">And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">I'm not doing this until I speak with Gus.", "</p><p><p ID=\"act\">The entire office is crammed into Gus's office. Anita sits up front, spellbound, watching the JOSIE CAM. Gus stands in back. Okay, he's a little interested too.", "</p><p><p ID=\"act\">Gus Strauss, late 30's, would probably clean up well, enters. He tosses some copy onto Josie's desk.", "</p><p><P ID=\"speaker\">ALDYS:\n<P ID=\"spkdir\">(sotto to Josie)", "</p><p><p ID=\"slug\">INTERIOR. GUS'S OFFICE - SAME\n</p><p><p ID=\"act\">Workers stand around Gus's TV, riveted by Josie and Sam.", "</p><p><p ID=\"act\">(arm casts). They are slack-jawed in shock. WE HEAR O.S. the SOUNDS of Josie VOMITING. Gus shakes his head sadly.", "<P ID=\"dia\">Gus insists that I become friends with these kids. The popular kids. It's impossible.\n</p><p><P ID=\"speaker\">ROB", "<P ID=\"dia\">Yeah. Let's do that.\n</p><p><p ID=\"act\">They start to walk out of the parking lot. Josie is visibly thrilled - having finally found a friend.", "</p><p><p ID=\"act\">Her friend, SHEILA, over-weight and pimply, comes running across the library at breakneck speed. She sits down next to Josie, visibly excited and pushes her index cards aside.", "</p><p><p ID=\"act\">Josie and Gus react.\n</p><p><P ID=\"speaker\">RIGFORT\n (cont'd)" ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">Josie sits with the COOL GROUP at a table. Kristen is making odd faces.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie and the Cool Girls walk under the", "</p><p><p ID=\"act\">The BELL RINGS. Class is over. Josie puts her stuff away and starts to follow the Cool Girls out.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans.", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">The group laughs and joins in, saying \"Hey Loser.\" Josie's face registers confusion.\n</p><p><p ID=\"act\">JOSIE-CAM POV:", "Girls are present and socializing. Josie finally makes her way", "</p><p><P ID=\"speaker\">CROWD\n<P ID=\"dia\">Josie! Josie! Josie!", "<P ID=\"dia\">Yeah. Let's do that.\n</p><p><p ID=\"act\">They start to walk out of the parking lot. Josie is visibly thrilled - having finally found a friend.", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same.", "</p><p><p ID=\"act\">Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables.\n</p><p><P ID=\"speaker\">CROWD", "</p><p><p ID=\"act\">Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">Josie merges with the throngs of kids", "</p><p><p ID=\"act\">Her friend, SHEILA, over-weight and pimply, comes running across the library at breakneck speed. She sits down next to Josie, visibly excited and pushes her index cards aside.", "</p><p><p ID=\"act\">Josie, pulling the perfect tray down the cafeteria line. She reaches some awful-looking Cole slaw in a big vat. A CAFETERIA GUY in a plastic cap hovers above it." ], [ "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "</p><p><P ID=\"speaker\">CROWD\n<P ID=\"dia\">Josie! Josie! Josie!", "<P ID=\"dia\">Proms always make me sad. They're so final. Graduation. Everyone's scattering, moving on.\n</p><p><P ID=\"speaker\">JOSIE", "<P ID=\"dia\">No, shut up, Josie. Just shut up.\n</p><p><p ID=\"act\">He storms off.", "<P ID=\"dia\">And - this year's prom queen -\n</p><p><p ID=\"act\">Sam looks at the card, then at Josie. Josie is standing; eyes open, staring at the podium...", "</p><p><P ID=\"speaker\">SAM\n<P ID=\"dia\">Josie--you make a really beautiful prom queen.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet.", "</p><p><p ID=\"act\">Josie, in all her prom splendor, waits out on the front porch for her date.", "</p><p><p ID=\"act\">CLOSE UP on Josie, completely crestfallen. She drops the microphone. It reverbs in the silent stadium.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.", "<P ID=\"dia\">I'm Rob's prom date.\n</p><p><p ID=\"act\">Josie glares at Rob.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "</p><p><p ID=\"act\">Josie walks around the lot, getting visibly upset.", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"dia\">I don't care about being the prom queen. I am twenty five years old.", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "</p><p><p ID=\"act\">Ms. Knox puts the sombrero on a less-than-thrilled Josie.\n</p><p><P ID=\"speaker\">MS. KNOX" ], [ "I Kissed Her\" as Josie and Sam continue to kiss", "line, where we find Josie, standing alone. She's trying her", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "\"get out of here\" movements. Sam notices Josie and follows", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">Sam looks deep into Josie's eyes.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">It feels like a lifetime before he reaches Josie, grabs her, pulls her close to him.\n</p><p><P ID=\"speaker\">SAM", "She continues on as Merkin stares after her. Josie reaches", "</p><p><p ID=\"act\">Sam, standing by a vendor, looks over and notices Josie's predicament.\n</p><p><P ID=\"speaker\">TOMMY (O.S.)", "</p><p><p ID=\"act\">Josie exits the club, looking for Sam. George runs up to her.\n</p><p><P ID=\"speaker\">GEORGE", "</p><p><p ID=\"act\">Josie still stands there. The clock is down to 2:30. She looks over to the dugout.", "</p><p><p ID=\"act\">Sam enters, still in sweats, carrying a book. He opens the fridge, grabs a beer, shuts it, is confronted by Josie's picture. He takes it down, looks at it.", "and down the hallway towards their lockers. Josie stops in", "</p><p><p ID=\"slug\">INTERIOR. CLASSROOM - SAME\n</p><p><p ID=\"act\">Sam still sits at his desk. He reads a book. Josie enters.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"slug\">ANGLE ON: JOSIE AND SAM as they continue to dance.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">Josie's still standing there.\n</p><p><P ID=\"speaker\">MERKIN\n<P ID=\"dia\">What", "</p><p><p ID=\"act\">Guy and Josie stand in front of Josie's old room. A bicycle license plate that says-\"JOSIE\" is nailed to the door. She stands in front of it.", "</p><p><p ID=\"act\">Josie, in all her prom splendor, waits out on the front porch for her date." ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><P ID=\"speaker\">ALDYS:\n<P ID=\"spkdir\">(sotto to Josie)", "<P ID=\"dia\">These girls are high schoolers? Damn, we've got some underage hotties on our hands, here!\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"slug\">ANGLE BACK ON JOSIE. She's seventeen.", "</p><p><p ID=\"act\">Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"act\">It's late. Josie is typing on her laptop, referencing notes from her notebook. Schoolbooks and homework are spread around her.\n</p><p><p ID=\"act\">END MONTAGE.", "</p><p><p ID=\"act\">CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.", "</p><p><p ID=\"act\">The guard stares at her a beat and then motions behind them, to three huge metal detectors that the kids are filtering through. Josie smiles, \"whoops,\" walks back.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"slug\">INTERIOR. JOSIE'S OFFICE - MINUTES LATER\n</p><p><p ID=\"act\">Josie is so excited she can hardly speak to Anita.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "<P ID=\"dia\">Josie -\n</p><p><p ID=\"slug\">INTERIOR. A HIGH SCHOOL CAFETERIA - DAY (FLASHBACK)", "</p><p><p ID=\"act\">Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"Denominators\" who all wear orange Denominator sweatshirts.", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">Josie, pulling the perfect tray down the cafeteria line. She reaches some awful-looking Cole slaw in a big vat. A CAFETERIA GUY in a plastic cap hovers above it.", "<P ID=\"dia\">Little known fact.\n</p><p><p ID=\"act\">Josie takes this in.\n</p><p><P ID=\"speaker\">ROB", "</p><p><p ID=\"act\">Josie sneaks in. She pushes past workers to get to a chair, big backpack whacking them as she goes.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same." ], [ "</p><p><p ID=\"act\">The Denominators erupt into cheers. They're jumping", "and laughs. Even some Denominators.", "</p><p><p ID=\"act\">Everyone - including all the Denominators are on their feet, chanting. Aldys cheers the loudest.", "</p><p><p ID=\"act\">This is very funny Denominator humor- to the Denominators. Josie leaves the Cafeteria.", "</p><p><p ID=\"act\">Aldys and the Denominators stand in front of a booth that displays a large glass jar of jellybeans. Calculators and paper out, they're engrossed in find the answer.", "</p><p><p ID=\"slug\">EXTERIOR. BLEACHERS - SAME\n</p><p><p ID=\"act\">The Denominators talking and laughing. Behind them, sit the Marching Band", "</p><p><p ID=\"act\">Josie and Denominators walk down the hallway in unison, past Guy's Group, open their lockers in order a la \"RESERVOIR DOGS\", take out paper, pencils, calculators.", "</p><p><p ID=\"act\">Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"Denominators\" who all wear orange Denominator sweatshirts.", "</p><p><P ID=\"speaker\">ALDYS\n<P ID=\"spkdir\">(to Denominator)\n<P ID=\"dia\">Look, there goes another Lemming.", "</p><p><p ID=\"act\">Sitting next to Josie is ALDYS, a Denominator--intense, wise, with a whole bunch of math medals on her sweatshirt. She smiles at Josie.", "</p><p><p ID=\"act\">Reaction shots' all around. Kids start clapping, hollering, whooping. The MUSIC STARTS UP again. They all go back to dancing The Denominators lead their own conga line.", "of Denominators going crazy on one side, and a janitor", "</p><p><p ID=\"slug\">EXTERIOR. BLEACHERS - SAME\n</p><p><p ID=\"act\">The Denominators and Aldys cheer their brains out.", "</p><p><p ID=\"act\">Josie and Aldys, both wearing big orange Denominator sweatshirts, are behind a table manning a bake sale.", "</p><p><p ID=\"act\">In the corner of the lot, we see a group of Denominators removing a BIG METAL CHAIN from around a group of tightly packed cars.", "</p><p><P ID=\"speaker\">ALDYS\n<P ID=\"dia\">How would you like to join The Denominators? The Math Team could really use a new brain. We lost our best logarithm guy last year.", "<P ID=\"dia\">See, aren't you guys glad you took a break from that Denominator stuff. I mean, you shouldn't be spending your Saturday night studying the whole time.", "</p><p><p ID=\"act\">Kristen reaches out and touches the rope binding Denominator #1 to Aldys. Denominator #1 slaps her hand away.", "walk past Aldys and another Denominator on their way to", "<P ID=\"dia\">Well, how would you define to parties\"? Because we ordered a deli platter at this one Denominator drill session--" ], [ "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "Tormented, Josie waits a beat. She can't take it,", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet.", "</p><p><p ID=\"act\">Josie, in all her prom splendor, waits out on the front porch for her date.", "</p><p><p ID=\"act\">Josie nervously checks her reflection in the T.V. - just like she did eight years ago. She takes a deep breath, and goes out.", "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"slug\">ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him.", "</p><p><p ID=\"act\">Guy smiles. Josie looks like she's going to hurl. She looks down the hall the other way- where a huge banner hangs that reads:", "</p><p><p ID=\"act\">Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall.", "<P ID=\"dia\">Proms always make me sad. They're so final. Graduation. Everyone's scattering, moving on.\n</p><p><P ID=\"speaker\">JOSIE", "day. Josie makes her way down the hall, clutching her", "<P ID=\"dia\">Do you remember high school?\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">It was a long time ago -", "done. Josie's face is contorted in imagined pain.", "</p><p><p ID=\"act\">Josie shuffles down the hall, still wearing her cheesy green and yellow gym clothes. She is clearly beaten. She looks down the hall, stunned.", "</p><p><p ID=\"act\">Josie has just gotten violently ill. She rises off her knees, grabs some toilet paper to wipe her mouth. She looks down at her feet." ], [ "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "</p><p><p ID=\"slug\">INTERIOR. COULSOM'S CLASSROOM - LATER\n</p><p><p ID=\"act\">Josie is standing, reading from her paper. Sam is rapt.", "and down the hallway towards their lockers. Josie stops in", "</p><p><p ID=\"act\">Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"act\">Josie walks up to Room 204. Opening the door, she's met by a sea of faces.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "</p><p><p ID=\"act\">Just then the classroom door opens. We see from Josie's perspective a blinding light, Josie squints. From the light emerges a shadowy vision of Billy Prince.", "</p><p><p ID=\"act\">WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet.", "</p><p><p ID=\"act\">Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"Denominators\" who all wear orange Denominator sweatshirts.", "</p><p><p ID=\"slug\">ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him.", "</p><p><p ID=\"slug\">INTERIOR. CLASSROOM - SAME\n</p><p><p ID=\"act\">Josie and her enormous bookbag enter. She takes a seat toward the back of the room.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">Josie approaches her locker. She can't get to it because a COUPLE is busy making out against it.", "</p><p><p ID=\"act\">Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans.", "</p><p><p ID=\"act\">Josie stares at her class card and eyes the classrooms, totally lost. She approaches a boy in a flannel shirt and loose jeans." ], [ "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "</p><p><p ID=\"act\">Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her.", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "</p><p><p ID=\"act\">She points out Rob in the crowd. He's mortified.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "<P ID=\"dia\">Hi there Robbie Rob.\n</p><p><p ID=\"act\">Josie sees Guy approach Rob, and shake his hand.", "</p><p><p ID=\"act\">Josie and Rob walk confidently through the hallway. Kids greet and high five them both.\n</p><p><P ID=\"speaker\">JASON", "</p><p><p ID=\"act\">OUT THE WINDOW, Josie sees her Buick with Rob at the wheel stopped at a red light. Detailed on to the side in big white script is:", "</p><p><p ID=\"act\">She's sixteen years old, Rob. That's totally and completely illegal.\n</p><p><p ID=\"act\">Josie feels an arm around her shoulder. It's Guy.", "</p><p><p ID=\"act\">Josie sees Rob waving her over to \"the table\" where Kristen, Gibby and the gang sit.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie can't take her eyes off Rob sitting at Guy's table. Aldys notices Josie's distraction.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Rob helps Josie up.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Are you crazy?! You can't do this.", "</p><p><p ID=\"act\">Josie and Rob enter.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Rob. Please focus.\n</p><p><p ID=\"act\">He puts his arm around her.", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Hey Rob, what's going on?\n</p><p><P ID=\"speaker\">TRACY", "</p><p><p ID=\"act\">It is ridiculous Rob is being followed by a posse, everyone knows his name. Girls tug on his shirt, guys slap him on the back or high-five him.", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><p ID=\"act\">Rob just shrugs.\n</p><p><p ID=\"slug\">EXTERIOR. JOSIE'S FRONT PORCH NIGHT (FLASHBACK)", "<P ID=\"dia\">Rob, this is unbelievable. I mean--\n</p><p><p ID=\"act\">Josie shoves through the double doors leading into the gym." ], [ "<P ID=\"dia\">And - this year's prom queen -\n</p><p><p ID=\"act\">Sam looks at the card, then at Josie. Josie is standing; eyes open, staring at the podium...", "</p><p><P ID=\"speaker\">SAM\n<P ID=\"dia\">Josie--you make a really beautiful prom queen.\n</p><p><P ID=\"speaker\">JOSIE", "<P ID=\"dia\">posed as a student and told you to like me. But y'know--l have to thank you. I got to go to an amazing prom. I got to be prom queen. I got to be cool. It felt good.", "</p><p><p ID=\"act\">And they begin to walk through the prom", "<P ID=\"dia\">You ruined the whole thing!\n</p><p><P ID=\"speaker\">KIRSTEN\n<P ID=\"dia\">You so do not deserve to be prom queen.", "</p><p><p ID=\"act\">WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet.", "prom queen or the quarterback or the biggest nerd in", "</p><p><P ID=\"speaker\">SAM\n<P ID=\"dia\">Next up - Southglen's Prom King", "</p><p><p ID=\"act\">Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.", "</p><p><p ID=\"act\">The crowd goes wild. Guy reaches the stage and takes his crown and scepter.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">The place is a flurry of activity, a staging area for prom. Various committees are set up at tables throughout the room.", "<P ID=\"dia\">Josie's odds are 3 to 1. 2 to 1 for Prom court. And even odds the kid sticks himself with the sword by the end of the night.", "<P ID=\"dia\">Southglen South competes every year for best prom, and usually they win. We Denominators don't even go to prom. -But to everyone else it's huge.", "</p><p><p ID=\"act\">WE FOLLOW Kristen's stare to the prom", "</p><p><P ID=\"speaker\">KID'S VOICE: (O.S.)\n<P ID=\"dia\">And this year's prom theme is--the millennium!", "</p><p><p ID=\"act\">There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\".", "</p><p><P ID=\"speaker\">SHEILA\n<P ID=\"dia\">Billy Prince is asking you to prom.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty." ], [ "</p><p><P ID=\"speaker\">CROWD\n<P ID=\"dia\">Josie! Josie! Josie!", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><p ID=\"act\">CLOSE UP on Josie, completely crestfallen. She drops the microphone. It reverbs in the silent stadium.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively.", "been found out. Camera widens. Down from Josie, we see", "</p><p><p ID=\"act\">Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"act\">Josie wipes her mouth. Throws the towel away. Goes to exit--", "</p><p><p ID=\"act\">Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same.", "</p><p><p ID=\"act\">Josie hands it back.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie stands there, head still held high.\n</p><p><P ID=\"speaker\">CROWD", "</p><p><p ID=\"act\">As Josie rounds a corner, she comes face", "She continues on as Merkin stares after her. Josie reaches", "</p><p><p ID=\"act\">She tears off her crown, and chucks it. She's on a roll.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie does. The sombrero drops over her", "<P ID=\"dia\">Oh, please.\n</p><p><p ID=\"act\">Josie has seen enough, and walks on.", "</p><p><p ID=\"act\">Sam lets the photo slowly drop from his hand into the trash.\n</p><p><P ID=\"speaker\">JOSIE (V.O.)\n (cont'd)", "</p><p><p ID=\"act\">He ignores Josie and goes back to his Girlfriend.\n</p><p><p ID=\"act\">Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie." ], [ "</p><p><p ID=\"act\">Rob helps Josie up.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Are you crazy?! You can't do this.", "</p><p><p ID=\"act\">They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.", "</p><p><p ID=\"act\">OUT THE WINDOW, Josie sees her Buick with Rob at the wheel stopped at a red light. Detailed on to the side in big white script is:", "<P ID=\"dia\">Hi there Robbie Rob.\n</p><p><p ID=\"act\">Josie sees Guy approach Rob, and shake his hand.", "</p><p><p ID=\"slug\">INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS\n</p><p><p ID=\"act\">Rob is bent over Josie. She rubs her eyes.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Rob. Please focus.\n</p><p><p ID=\"act\">He puts his arm around her.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><P ID=\"speaker\">ROB\n<P ID=\"dia\">No. Josie, this is real.\n</p><p><p ID=\"act\">She looks up.", "</p><p><p ID=\"act\">She points out Rob in the crowd. He's mortified.\n</p><p><P ID=\"speaker\">JOSIE\n (cont'd)", "</p><p><p ID=\"act\">Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.", "</p><p><p ID=\"act\">Josie turns around and gives him a death look. Tracy turns to Rob.\n</p><p><P ID=\"speaker\">TRACY", "</p><p><p ID=\"act\">Monty takes the lei off her neck. Josie hands Rob an envelope. Rob rifles through the cash inside.\n</p><p><P ID=\"speaker\">ROB", "</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">Hey Rob, what's going on?\n</p><p><P ID=\"speaker\">TRACY", "</p><p><p ID=\"act\">Josie and Rob enter.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Rob and Josie turn the corner.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie walks past Merkin's desk. She holds out her hand to Merkin.\n</p><p><P ID=\"speaker\">JOSIE", "</p><p><p ID=\"act\">Josie storms into the den, and plants herself on the sofa. She sees that Rob has been watching baseball on T.V., and she turns it off.", "</p><p><p ID=\"act\">Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively." ], [ "<P ID=\"dia\">Of course I do. Josie, you owe it to yourself--to your writing, to go to college. You're a great writer. You just have to find your story.", "<P ID=\"dia\">That's your story!\n</p><p><P ID=\"speaker\">JOSIE", "Tormented, Josie waits a beat. She can't take it,", "</p><p><p ID=\"act\">Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall.", "</p><p><p ID=\"act\">We find Josie sitting at her small table", "</p><p><p ID=\"slug\">ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him.", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "<P ID=\"dia\">I told you you could write, Josie Geller.\n</p><p><P ID=\"speaker\">JOSIE\n<P ID=\"dia\">I finally found my story.", "</p><p><P ID=\"speaker\">JOSIE\n (cont'd)\n<P ID=\"dia\">--notes here somewhere-(picking up paper)", "</p><p><p ID=\"act\">As Josie rounds a corner, she comes face", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "done. Josie's face is contorted in imagined pain.", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)", "</p><p><P ID=\"speaker\">JOSIE (V.O.)" ], [ "I Kissed Her\" as Josie and Sam continue to kiss", "\"get out of here\" movements. Sam notices Josie and follows", "</p><p><p ID=\"act\">Sam enters, still in sweats, carrying a book. He opens the fridge, grabs a beer, shuts it, is confronted by Josie's picture. He takes it down, looks at it.", "</p><p><p ID=\"act\">Sam gets into his car and drives off. Josie is devastated.", "</p><p><p ID=\"act\">Sam looks deep into Josie's eyes.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"slug\">INTERIOR. CLASSROOM - SAME\n</p><p><p ID=\"act\">Sam still sits at his desk. He reads a book. Josie enters.", "</p><p><p ID=\"act\">Josie exits the club, looking for Sam. George runs up to her.\n</p><p><P ID=\"speaker\">GEORGE", "</p><p><p ID=\"act\">It feels like a lifetime before he reaches Josie, grabs her, pulls her close to him.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">JIIAMY CLIFF is playing. The crowd sits at tables, grooving. Josie approaches the bar. A guy turns around--it's Sam.", "</p><p><p ID=\"act\">Josie, in all her prom splendor, waits out on the front porch for her date.", "</p><p><p ID=\"act\">Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.", "She continues on as Merkin stares after her. Josie reaches", "opens. Josie can't stop. A figure emerges, but before", "opens. Josie can't stop. A figure emerges, but before", "</p><p><p ID=\"slug\">ANGLE ON: JOSIE AND SAM as they continue to dance.\n</p><p><P ID=\"speaker\">SAM", "</p><p><p ID=\"act\">Josie looks from Sam and Anita's smiling faces to find Guy smiling at her.", "</p><p><p ID=\"act\">And Josie proceeds to get up and take", "and down the hallway towards their lockers. Josie stops in", "</p><p><p ID=\"act\">Josie stumbles on a step Guy immediately reaches out to steady her. She melts. She can't even speak, so she just nods.", "</p><p><p ID=\"act\">A surprised Josie looks up to see Sam next to her. She lets her condom go. And it flies off her banana into his face. Josie turns to Tracy." ] ]

[ "When Josie was in high school the first time, what type of person was she?", "How did Aldys help Josie when Josie enrolled in high school for the second time?", "Who is voted and crowned Prom Queen near the end of the story?", "What act made Josie break her crown and reveal her true identity?", "How does Rob help Josie?", "How does Sam react to his feelings for Josie?", "Why does Rob get mad at Josie after the prom?", "How do all of Josie's coworkers become obsessed in her new high school life?", "What is Josie's job at the Chicago Sun Times?", "Where does Josie Geller work?", "What did job did Josie get assigned to do?", "What happens on Josie's first day of school?", "Who ask Josie to join a group?", "Who does Josie have a crush on?", "Where do Guy and his friends hangout?", "Who does Gus demand Josie become friends with?", "Who helps draw Josie into the cool crowd?", "Why does Josie get mad and throw her crown at prom?", "Where does Josie say she stand and wait for Sam to kiss her?", "Why does Josie get assigned to go undercover at a high school?", "What are the Denominators?", "What reminds Josie of the horrible prom incident from her high school days?", "Where is it that Josie discovers the students participate in underage drinking and promiscuity?", "Why does Rob sign up at the same high school as Josie?", "Who gets elected as prom queen?", "Why does Josie throw away her crown and reveal who she is?", "What job does Josie help to secure for Rob?", "What does Josie admit when she writes her story?", "Where does Josie wait for Sam to kiss her?" ]

[ [ "A geek", "A geek" ], [ "Befriended her and invited her to join the Denominators", "She becomes friend with Josie and invites her to join her group of friends" ], [ "Josie", "Josie" ], [ "The mean girls tried to dump dog food over Aldys as she dances with Guy.", "Mean girls attempting to throw dog food on Aldys" ], [ "Rob enrolls in high school again and helps bring Josie into the popular crowd.", "He brings her into the popular kids circle" ], [ "Sam struggles.", "He feels they are inappropriate because he's a teacher and he thinks she's an actual student" ], [ "Josie told everyone Rob was going through high school again.", "He had a second chance at baseball" ], [ "The coworkers watch what is happening on a hidden camera.", "Watching through the camera" ], [ "Copy editor", "She is a copy editor" ], [ "Chicago Sun Times", "The Chicago Sun Times" ], [ "To go undercover at a high school.", "She has to go undercover at a high school for an article to inform parents about their kids." ], [ "She has a run in with three popular girls.", "She has a horrible day but meets a friend" ], [ "Aldys", "Aldys" ], [ "Her teacher Sam Coulson.", "Sam Coulson" ], [ "The Court", "The Court" ], [ "The popular kids", "The popular kids" ], [ "Her brother Rob.", "Rob" ], [ "The means girls try to dump dog food on Aldys.", "The boy she was suppose to go to the prom with showed up with another girl and they threw eggs at her and yelled insults." ], [ "In the middle of the baseball field.", "In the middle of a baseball field" ], [ "to help parents become more aware of their child's lives", "to help parents become more aware of their child's life" ], [ "a group of intelligent students", "Group of intelligent students" ], [ "reciting Shakespeare to her teacher", "reading a poem in class" ], [ "The Court", "The Court" ], [ "to help her come out of her shell", "To help Josie become popular" ], [ "Josie", "Josie" ], [ "because the mean girls tried to dump dog food on Aldys", "The popular kids are mean to Aldys" ], [ "a coach", "A coaching job." ], [ "She's never been kissed", "She's never been kissed" ], [ "middle of the baseball field", "In the middle of a baseball field" ] ]

[ [ "commander of the Rebel forces, rushes up to the group and \n gives Leia a big hug. Every one is pleased to see her.", "VOICE\n (over speaker)\n Rebel base, three minutes and closing.\n\n INT. READ LEADER'S COCKPIT", "Red Leader, a rugged handsome man in his forties, comes up \n behind Luke and Biggs. He has the confident smile of a born \n leader.", "It is a period of civil war. Rebel spaceships, \n striking from a hidden base, have won their first \n victory against the evil Galactic Empire.", "RED LEADER\n All wings report in.\n\n INT. ANOTHER COCKPIT\n\n One of the Rebel fighters checks in through his mike.", "RED LEADER\n (over speaker)\n I see it. Stay low.\n\n EXT. SPACE\n\n An X-wing zooms across the surface of the Death Star.", "Red Leader looks around at his wingmen; the Death Star looming \n in from behind. Two Y-wing fighters bob back and forth in \n the background. He moves his computer targeting device into \n position.", "Leia, Threepio, Dodonna and other Rebel officers are listening \n to the Rebel Fighter's radio transmissions over the war room \n intercom.", "RED LEADER\n (over headset)\n Red Six...\n\n INT. MASSASSI OUTPOST - WAR ROOM", "Gold Leader, a rough looking man in his early thirties, stands \n and addresses Dodonna.", "Red Leader looks over at his wingmen.\n\n RED LEADER\n Red Group, this is Red Leader.\n\n INT. MASSASSI OUTPOST - WAR ROOM", "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "Red Leader fights to gain control of his ship.\n\n EXT. SPACE AROUND THE DEATH STAR", "The Rebel ships race toward the fourth moon of Yavin.\n\n INT. MASSASSI OUTPOST - MAIN HANGAR", "Red Leader looks around to watch for the TIE fighters. He \n begins to perspire.\n\n RED LEADER\n This is it!\n\n EXT. SPACE", "The nervous Rebel troopers aim their weapons. Suddenly a \n tremendous blast opens up a hole in the main passageway and", "Gold Leader races down the enormous trench that leads to the \n exhaust port. Laserbolts blast toward him in increasing \n numbers, occasionally exploding near the ship causing it to \n bounce about.", "INT. RED LEADER'S COCKPIT\n\n Red Leader looks back at the receding Death Star. Tiny \n explosions are visible in the distance.", "INT. GOLD LEADER'S Y-WING - COCKPIT\n\n The Death Star races by outside the cockpit window as he \n adjusts his targeting device.", "Red Leader roams down the trench of the Death Star as lasers \n streak across the black heavens.\n\n EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS" ], [ "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "Frustrated, Leia shakes her head.\n\n LEIA\n At least the information in Artoo is \n still intact.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "Leia is marched away down the hallway and into the smoldering \n hole blasted in the side of the ship. An Imperial Commander \n turns to Vader.", "Leia steps from her hiding place and blasts a trooper with \n her laser pistol. She starts to run but is felled by a \n paralyzing ray. The troopers inspect her inert body.", "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "Dodonna and Princess Leia, with Threepio beside them, listen \n intently to the talk between the pilots. The room is grim \n after Red Leader's death. Princess Leia nervously paces the \n room.", "The lovely young girl huddles in a small alcove as the \n stormtroopers search through the ship. She is Princess Leia", "Everyone dives for cover in the garbage as the bolt explodes \n almost on top of them. Leia climbs out of the garbage with a \n rather grim look on her face.", "Han watches her start away. He looks at Luke.\n\n HAN\n No reward is worth this.\n\n They follow her, moving swiftly down the deserted corridor.", "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "Alderaan has failed. I have placed \n information vital to the survival of \n the Rebellion into the memory systems", "Han is watching the dozen or so troops moving in and out of \n the pirateship. Leia moves towards Han, touches his arm and \n points out the window to the ship.", "Leia hits one of the stormtroopers on the bridge above, and \n he falls into the abyss. Luke tosses the rope across the", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "HAN\n What kept you?\n\n LEIA\n We ran into some old friends.\n\n LUKE\n Is the ship all right?", "LEIA\n There's no lock!\n\n Luke blasts the controls with his laser pistol.\n\n LUKE\n That oughta hold it for a while.", "princess in his arms. Leia looks at Luke, then kisses him \n quickly on the lips. Luke is very surprised.", "ship by Rebel spies. I want to know \n what happened to the plans they sent \n you.", "INT. MASSASSI OUTPOST - WAR ROOM\n\n Leia and the others stare at the computer board.\n\n INT. LUKE'S X-WING COCKPIT" ], [ "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "Leia hits one of the stormtroopers on the bridge above, and \n he falls into the abyss. Luke tosses the rope across the", "princess in his arms. Leia looks at Luke, then kisses him \n quickly on the lips. Luke is very surprised.", "LUKE\n What? Oh... the uniform. I'm Luke \n Skywalker. I'm here to rescue you.\n\n LEIA\n You're who?", "INT. MASSASSI OUTPOST - WAR ROOM\n\n Leia and the others stare at the computer board.\n\n INT. LUKE'S X-WING COCKPIT", "Luke is furious but doesn't have time to think about it for \n muted alarms begin to go off down on the hangar deck. Luke \n and Leia start off toward the starship hangar.", "LEIA\n Grab him!\n\n Luke seems to be released by the thing.\n\n LEIA\n What happened?", "INT. MILLENNIUM FALCON - HOLD AREA\n\n Luke gets up and moves out toward the gunports as Leia heads \n for the cockpit.", "Luke is stunned by Biggs' death. His eyes are watering, but \n his anger is also growing.\n\n INT. DEATH STAR - CONTROL ROOM", "LUKE\n (laughing)\n That's it! We did it!\n\n The princess jumps up and gives Chewie a congratulatory hug.", "Leia steps from her hiding place and blasts a trooper with \n her laser pistol. She starts to run but is felled by a \n paralyzing ray. The troopers inspect her inert body.", "HAN\n (to Luke)\n Come on!\n\n LEIA\n Come on! Luke, its too late!", "Luke fires his pistol at the door control panel, and it \n explodes. The door begins to slide shut. Three troopers charge", "LUKE\n The princess? She's here?\n\n HAN\n Princess? What's going on?", "and fires at them, as Leia returns his fire as well. \n Suddenly, the hatch door begins to open, revealing the feet \n of more troops.", "LUKE\n I saw part of the message he was...\n\n Luke is cut short as the recorded image of the beautiful \n young Rebel princess is projected from Artoo's face.", "LEIA\n There's no lock!\n\n Luke blasts the controls with his laser pistol.\n\n LUKE\n That oughta hold it for a while.", "LEIA\n (laughing)\n Hey, I knew there was more to you \n than money.\n\n Luke looks toward the ship." ], [ "the Jedi Knights were the guardians \n of peace and justice in the Old \n Republic. Before the dark times, \n before the Empire.", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "Troopers look on in interest as the old Jedi and Dark Lord \n of The Sith fight. Suddenly Luke spots the battle from his \n group's vantage point.", "BEN\n Well, the Force is what gives a Jedi \n his power. It's an energy field", "BEN\n The Force can have a strong influence \n on the weak-minded. You will find it \n a powerful ally.", "Ben Kenobi puts a hand on his shoulder.\n\n BEN\n You can't win. But there are \n alternatives to fighting.", "BEN\n Remember, a Jedi can feel the Force \n flowing through him.\n\n LUKE\n You mean it controls your actions?", "Luke looks at old Ben, who is busy talking to one of the \n Galactic pirates. He notices several of the gruesome creatures \n along the bar are giving him a very unfriendly glare.", "BEN\n I suggest you try it again, Luke.\n\n Ben places a large helmet on Luke's head which covers his \n eyes.", "Luke stands in one place, seemingly frozen. The seeker makes \n a dive at Luke and, incredibly, he managed to deflect the \n bolt. The ball ceases fire and moves back to its original \n position.", "BEN\n The Jundland wastes are not to be \n traveled lightly. Tell me young Luke, \n what brings you out this far?", "The rodent lets out a loud grunt and everything at the bar \n moves away. Luke tries to remain cool but it isn't easy. His \n three adversaries ready their weapons. Old Ben moves in behind \n Luke.", "Ben rubs his forehead. He seems to drift into a trance. Then \n he fixes his gaze on Luke.\n\n BEN\n You'd better get on with your \n exercises.", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "inert Luke Skywalker, who is dropped in a heap before the \n speeder. The Sandpeople ransack the speeder, throwing parts \n and supplies in all directions. Suddenly they stop. Then", "BEN\n Be patient, Luke. Stay and watch \n over the droids.\n\n LUKE\n But he can...", "The two Galactic warriors stand perfectly still for a few \n moments, sizing each other up and waiting for the right \n moment. Ben seems to be under increasing pressure and strain,", "The old Jedi Knight looks over his shoulder at Luke, lifts \n his sword from Vader's then watches his opponent with a serene \n look on his face.", "LUKE\n Maybe they know what happened.\n\n BEN\n It's an Imperial fighter.", "Luke, shaking and totally amazed at the old man's abilities, \n attempts to stand. The entire fight has lasted only a matter \n of seconds. The cantina goes back to normal, although Ben is" ], [ "The old Jedi Knight looks over his shoulder at Luke, lifts \n his sword from Vader's then watches his opponent with a serene \n look on his face.", "Darth Vader steps into view at the end of the tunnel, not \n ten feet away. Vader lights his saber. Ben also ignites his \n and steps slowly forward.", "Ben hands Luke the saber.\n\n LUKE\n What is it?", "BEN\n Your fathers lightsaber. This is the \n weapon of a Jedi Knight. Not as clumsy \n or as random as a blaster.", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "takes advantage of Ben's momentary distraction and brings \n his mighty lightsaber down on the old man. Ben manages to \n deflect the blow and swiftly turns around.", "Luke stands in the middle of the small hold area; he seems \n frozen in place. A humming lightsaber is held high over his", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "BEN\n An elegant weapon for a more civilized \n time. For over a thousand generations", "by Vader is blocked by the old Jedi. Another of the Jedi's \n blows is blocked, then countered. Ben moves around the Dark", "BEN\n I suggest you try it again, Luke.\n\n Ben places a large helmet on Luke's head which covers his \n eyes.", "VADER\n When I left you, I was but the \n learner; now I am the master.\n\n BEN\n Only a master of evil, Darth.", "Vader brings his sword down, cutting old Ben in half. Ben's \n cloak falls to the floor in two parts, but Ben is not in it.", "the heart of the local settlers. But Luke manages to block \n the blow with his laser rifle, which is smashed to pieces. \n The terrified farm boy scrambles backward until he is forced", "The rodent lets out a loud grunt and everything at the bar \n moves away. Luke tries to remain cool but it isn't easy. His \n three adversaries ready their weapons. Old Ben moves in behind \n Luke.", "and the robots reach the starship. Luke sees Ben cut in two \n and starts for him. Aghast, he yells out.", "then makes another quick lunge, this time emitting a blood \n red laser beam as it attacks. It hits Luke in the leg causing \n him to tumble over. Han lets loose with a burst of laughter.", "Luke stands in one place, seemingly frozen. The seeker makes \n a dive at Luke and, incredibly, he managed to deflect the \n bolt. The ball ceases fire and moves back to its original \n position.", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "Vader's finger's curls around the control stick.\n\n INT. LUKE'S X-WING - COCKPIT\n\n Luke adjusts the lens of his targeting device." ], [ "Han gives him a kick and the Wookiee disappears into the \n tiny opening. Luke and Han continue firing as they work their \n way toward the opening.", "HAN\n Rich?\n\n LUKE\n Yes. Rich, powerful! Listen, if you \n were to rescue her, the reward would \n be...", "Luke turns and sees Han wink at him. Luke lifts his hand in \n a small wave and then goes off.\n\n Han turns to Chewie who growls at his captain,", "Over the shoulders of Chewbacca and Han, we can see the galaxy \n spread before them. Luke and Ben make their way into the \n cramped cockpit where Han continues his calculation.", "HAN\n Han Solo. I'm captain of the \n Millennium Falcon. Chewie here tells \n me you're looking for passage to the \n Alderaan system.", "HAN\n Chewie!\n\n Chewbacca responds with a growling noise.\n\n HAN\n Get behind me! Get behind me!", "A voice from directly behind the pirates startles them and \n they turn around to see Han Solo and the giant Wookiee, \n Chewbacca, standing behind them with no weapons in sight.", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "LUKE\n Got him! I got him!\n\n Han turns and gives Luke a victory wave which Luke gleefully \n returns.", "HAN\n (to Luke)\n You in, kid? Okay, stay sharp!\n\n INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT", "HAN\n Better her than me...\n\n LUKE\n She's rich.\n\n Chewbacca growls.", "Han pulls back on the controls and the ship begins to move. \n The dull thud of laser bolts bouncing off the outside of the \n ship as Chewie adjusts his controls.", "Flight crews rush around loading last-minute armaments and \n unlocking power couplings. In an area isolated from this \n activity Luke finds Han and Chewbacca loading small boxes", "LUKE\n (laughing)\n That's it! We did it!\n\n The princess jumps up and gives Chewie a congratulatory hug.", "HAN\n Boy you said it, Chewie.\n\n Han looks at Luke.\n\n HAN\n Where did you dig up that old fossil?", "Luke scratches his head. It's obvious he isn't sure about \n all this. Chewbacca rushes up the ramp and urges the others \n to follow.", "HAN\n All right, kid. But you'd better be \n right about this.\n\n Han looks at Chewie, who grunts a short grunt.", "HAN\n (pointing to Luke)\n He's the brains, sweetheart.\n\n Luke manages a sheepish grin and shrugs his shoulders.", "Chewbacca and Princess Leia search the heavens for attacking \n TIE fighters. The Wookiee pulls back on the speed controls \n as the ship bounces slightly.", "Luke looks around to see where the voice came from. He turns \n toward the pirateship, ducking Imperial gunfire from the \n troopers and races into the ship." ], [ "takes advantage of Ben's momentary distraction and brings \n his mighty lightsaber down on the old man. Ben manages to \n deflect the blow and swiftly turns around.", "Darth Vader steps into view at the end of the tunnel, not \n ten feet away. Vader lights his saber. Ben also ignites his \n and steps slowly forward.", "Vader and Ben Kenobi continue their powerful duel. As they \n hit their lightsabers together, lightning flashes on impact.", "by Vader is blocked by the old Jedi. Another of the Jedi's \n blows is blocked, then countered. Ben moves around the Dark", "The old Jedi Knight looks over his shoulder at Luke, lifts \n his sword from Vader's then watches his opponent with a serene \n look on his face.", "Ben Kenobi moves with elegant ease into a classical offensive \n position. The fearsome Dark Knight takes a defensive stance.", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "Their lightsabers continue to meet in combat.\n\n INT. DEATH STAR - MAIN FORWARD BAY", "Troopers look on in interest as the old Jedi and Dark Lord \n of The Sith fight. Suddenly Luke spots the battle from his \n group's vantage point.", "BEN\n Well of course, of course I know \n him. He's me! I haven't gone by the \n name Obi-Wan since oh, before you \n were born.", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "Ben makes a sudden lunge at the huge warrior but is checked \n by a lightning movement of The Sith. A masterful slash stroke", "The two Galactic warriors stand perfectly still for a few \n moments, sizing each other up and waiting for the right \n moment. Ben seems to be under increasing pressure and strain,", "INT. DEATH STAR - HALLWAY\n\n Solo, Chewie, Luke, and Leia tensely watch the duel. The \n troops rush toward the battling knights.", "BEN\n Your fathers lightsaber. This is the \n weapon of a Jedi Knight. Not as clumsy \n or as random as a blaster.", "The clacking sound of huge switching devices can be heard. \n The old Jedi edges his his way along a narrow ledge leading \n to a control panel that connects two large cables. He", "Ben Kenobi puts a hand on his shoulder.\n\n BEN\n You can't win. But there are \n alternatives to fighting.", "Luke stands in one place, seemingly frozen. The seeker makes \n a dive at Luke and, incredibly, he managed to deflect the \n bolt. The ball ceases fire and moves back to its original \n position.", "Lord and starts backing into the massive starship hangar. \n The two powerful warriors stand motionless for a few moments \n with laser swords locked in mid-air, creating a low buzzing", "Obi-Wan Kenobi jibberish... and don't \n talk to me about your mission, either. \n You're fortunate he doesn't blast" ], [ "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "It is a period of civil war. Rebel spaceships, \n striking from a hidden base, have won their first \n victory against the evil Galactic Empire.", "Light from a distant sun creates an eerie atmospheric glow \n around a huge planet, Yavin. Rebel fighters flying in \n formation settle ominously in the foreground and very slowly \n pull away.", "VADER\n I have traced the Rebel spies to \n her. Now she is my only link to find \n their secret base!", "VADER\n And, now Your Highness, we will \n discuss the location of your hidden \n Rebel base.", "Tarkin and Vader watch the computer projected screen with \n interest, as a circle of lights intertwines around one another \n on the screen showing it's position in relation to Yavin and \n the forth moon.", "four moons. The red dot that represents the Death Star moves \n ever closer to the system. A series of green dots appear \n around the fourth moon. A din of indistinct chatter fills", "TARKIN\n I grow tired of asking this. So it'll \n be the last time. Where is the Rebel \n base?", "EXT. SPACE\n\n The surface of the Death Star ominously approaches the red \n planet Yavin.\n\n INT. DEATH STAR - CONTROL ROOM", "a Rebel base, but they estimate that \n it has been deserted for some time. \n They are now conducting an extensive \n search of the surrounding systems.", "the location of the Rebel base, I \n have chosen to test this station's \n destructive power... on your home \n planet of Alderaan.", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "location of the Rebel fortress by \n the time this station is operational. \n We will then crush the Rebellion \n with one swift stroke.", "The Rebel ships race toward the fourth moon of Yavin.\n\n INT. MASSASSI OUTPOST - MAIN HANGAR", "HAN\n Easy... you call that easy?\n\n LEIA\n Their tracking us!\n\n HAN\n Not this ship, sister.", "As the fighters move closer to the Death Star, the awesome \n size of the gargantuan Imperial fortress is revealed. Half", "The Rebel ships race out of sight, leaving the moon-like \n Death Star alone against a blanket of stars. Several small", "Two squads of Rebel fighters peel off. The X-wings dive \n towards the Death Star surface. A thousand lights glow across \n the dark grey expanse of the huge station.\n\n INT. DEATH STAR", "Tarkin glares at the projected target screen.\n\n DEATH STAR INTERCOM VOICE\n Rebel base, in range.", "COMMANDER\n Yes, sir.\n\n EXT. SPACE\n\n The Imperial Stardestroyer comes over the surface of the \n planet Tatooine." ], [ "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "ship by Rebel spies. I want to know \n what happened to the plans they sent \n you.", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "Alderaan has failed. I have placed \n information vital to the survival of \n the Rebellion into the memory systems", "It is a period of civil war. Rebel spaceships, \n striking from a hidden base, have won their first \n victory against the evil Galactic Empire.", "The Rebel ships race out of sight, leaving the moon-like \n Death Star alone against a blanket of stars. Several small", "The nervous Rebel troopers aim their weapons. Suddenly a \n tremendous blast opens up a hole in the main passageway and", "VADER\n I have traced the Rebel spies to \n her. Now she is my only link to find \n their secret base!", "Two squads of Rebel fighters peel off. The X-wings dive \n towards the Death Star surface. A thousand lights glow across \n the dark grey expanse of the huge station.\n\n INT. DEATH STAR", "location of the Rebel fortress by \n the time this station is operational. \n We will then crush the Rebellion \n with one swift stroke.", "The Rebel ships race toward the fourth moon of Yavin.\n\n INT. MASSASSI OUTPOST - MAIN HANGAR", "size as the Rebel fighters approach. Complex patterns on the \n metallic surface begin to become visible. A large dish antenna \n is built into the surface on one side.", "Light from a distant sun creates an eerie atmospheric glow \n around a huge planet, Yavin. Rebel fighters flying in \n formation settle ominously in the foreground and very slowly \n pull away.", "a Rebel base, but they estimate that \n it has been deserted for some time. \n They are now conducting an extensive \n search of the surrounding systems.", "threat, or they'd have a tighter \n defense. An analysis of the plans \n provided by Princess Leia has \n demonstrated a weakness in the battle", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "VADER\n They must be trying to return the \n stolen plans to the princess. She \n may yet be of some use to us.", "HAN\n Bring them on! I prefer a straight \n fight to all this sneaking around.\n\n THREEPIO\n We found the computer outlet, sir.", "Artoo punches his claw arm into the computer socket and the \n vast Imperial brain network comes to life, feeding information \n to the little robot. After a few moments, he beeps something.", "Leia, Threepio, Dodonna and other Rebel officers are listening \n to the Rebel Fighter's radio transmissions over the war room \n intercom." ], [ "An explosion rocks the ship as two robots, Artoo-Detoo (R2-\n D2) and See-Threepio (C-3PO) struggle to make their way", "Artoo-Detoo stands next to a similar robot, makes beeping \n sounds, and turns his head from right to left.", "Artoo makes beeping sounds.\n\n BEN\n Now, let's see if we can't figure \n out what you are, my little friend. \n And where you come from.", "The little R2 unit makes a series of electronic sounds that \n only another robot could understand.\n\n THREEPIO\n There'll be no escape for the Princess \n this time.", "Artoo whistles and beeps a long message to Threepio.", "Artoo-Detoo. He waddles up to the group and stands next to \n an equally pristine Threepio, who is rather awestruck by the", "Little Artoo stands at the edge of a large sand pit and begins \n to chatter away in electronic whistles and beeps. Luke and", "The crewmen lower Artoo-Detoo into the craft. Now a part of \n the exterior shell of the starship, the little droid beeps \n that he is fine.", "through the shaking, bouncing passageway. Both robots are \n old and battered. Artoo is a short, claw-armed tripod. His", "Artoo responds, making beeping sounds.\n\n THREEPIO\n Don't shoot! Don't shoot! Will this \n never end?", "Artoo makes beeping sounds.\n\n THREEPIO\n You watch your language!", "Artoo beeps something to Threepio.", "Artoo answers with beeping sounds.\n\n THREEPIO\n I've got to rest before I fall apart. \n My joints are almost frozen.", "Artoo beeps a muffled reply. Luke seems to be lost in thought \n as he runs his hand over the damaged fin of a small two-man", "A familiar clanking sound attacks Threepio's attention and \n he spots little Artoo at the end of the hallway in a smoke-", "Artoo makes a beeping sound.\n\n LUKE\n No, you're not. What kind of talk is \n that?", "Artoo beeps in response. Luke unplugs Artoo and begins to \n scrape several connectors on the robot's head with a chrome", "LUKE\n Not on your life! That little droid \n and I have been through a lot \n together.\n (to Artoo)\n You okay, Artoo?", "THREEPIO\n And I am See-Threepio, human-cyborg \n relations, and this is my counterpart, \n Artoo-Detoo.", "A trooper pushes a button and the supply cabinet door slides \n open. See-Threepio and Artoo-Detoo are inside. Artoo follows \n his bronze companion out into the office." ], [ "The giant twin suns of Tatooine slowly disappear behind a \n distant dune range. Luke stands watching them for a few \n moments, then reluctantly enters the doomed entrance to the \n homestead.", "The awesome yellow planet of Tatooine emerges from a total \n eclipse, her two moons glowing against the darkness. A tiny", "The distant star can be distinguished as a small moon or \n planet.\n\n LUKE\n Look at him. He's headed for that \n small moon.", "LUKE\n Well, if there's a bright center to \n the universe, you're on the planet \n that it's farthest from.", "A death-white wasteland stretches from horizon to horizon. \n The tremendous heat of two huge twin suns settle on a lone", "Empire would even fight to keep this \n system. Believe me Luke, this planet \n is a big hunk of nothing...", "EXT. SPACE - PLANET TATOOINE\n\n The Corellian pirateship zooms from Tatooine into space.", "EXT. SPACE - PLANET TATOOINE", "The enormous Sandcrawler lumbers off toward the magnificent \n twin suns, which are slowly setting over a distant mountain \n ridge.\n\n EXT. TATOOINE - DESERT - DAY", "COMMANDER\n Yes, sir.\n\n EXT. SPACE\n\n The Imperial Stardestroyer comes over the surface of the \n planet Tatooine.", "Light from a distant sun creates an eerie atmospheric glow \n around a huge planet, Yavin. Rebel fighters flying in \n formation settle ominously in the foreground and very slowly \n pull away.", "The Millennium Falcon pirateship races away from the yellow \n planet, Tatooine. It is followed by two huge Imperial \n stardestroyers.", "BEN\n The Jundland wastes are not to be \n traveled lightly. Tell me young Luke, \n what brings you out this far?", "the enormous Sandcrawler, which is parked beside a small \n homestead consisting of three large holes in the ground \n surrounded by several tall moisture vaporators and one small", "EXT. SPACE - PLANET TATOOINE\n\n Imperial cruisers fire at the pirateship.\n\n INT. MILLENNIUM FALCON - COCKPIT", "Jundland, or \"No Man's Land\", where the rugged desert mesas \n meet the foreboding dune sea. The two helpless astro-droids", "Luke races across the wasteland in his battered Landspeeder.\n\n EXT. TATOOINE - LARS HOMESTEAD", "EXT. TATOOINE - DESERT", "Heat waves radiate from the dozen or so bleached white \n buildings. Luke pilots his Landspeeder through the dusty", "Luke watches the distant Tusken Raider through his \n electrobinoculars. Suddenly something huge moves in front of" ], [ "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "LUKE\n I saw part of the message he was...\n\n Luke is cut short as the recorded image of the beautiful \n young Rebel princess is projected from Artoo's face.", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "INT. MASSASSI OUTPOST - WAR ROOM\n\n Leia and the others stare at the computer board.\n\n INT. LUKE'S X-WING COCKPIT", "Luke is furious but doesn't have time to think about it for \n muted alarms begin to go off down on the hangar deck. Luke \n and Leia start off toward the starship hangar.", "INT. MASSASSI OUTPOST - WAR ROOM\n\n Leia and the others listen to Solo's transmission.", "LUKE\n Wait a minute!\n\n Luke pulls out his comlink.", "In the war room, Leia stands frozen as she listens and worries \n about Luke.\n\n RED LEADER\n (over speaker)\n Can you see Red Five?", "LUKE\n What? Oh... the uniform. I'm Luke \n Skywalker. I'm here to rescue you.\n\n LEIA\n You're who?", "Luke fires his pistol at the door control panel, and it \n explodes. The door begins to slide shut. Three troopers charge", "Meanwhile, Luke is lying on his side, trying to keep his \n head above the rising ooze. Luke's comlink begins to buzz \n and he rips it off his belt.", "Luke lines up the yellow cross-hair lines of the targeting \n device's screen. He looks into the targeting device, then \n starts at a voice he hears.", "Luke takes a small comlink transmitter from his belt as they \n continue to exchange fire with stormtroopers making their \n way down the corridor.", "LUKE\n (over speaker)\n Nothing. I'm all right.\n\n EXT. SURFACE OF THE DEATH STAR", "INT. MILLENNIUM FALCON - HOLD AREA\n\n Luke gets up and moves out toward the gunports as Leia heads \n for the cockpit.", "Leia hits one of the stormtroopers on the bridge above, and \n he falls into the abyss. Luke tosses the rope across the", "princess in his arms. Leia looks at Luke, then kisses him \n quickly on the lips. Luke is very surprised.", "LEIA\n Luke! Luke! Luke!", "Leia extends a long pipe toward him.\n\n LEIA\n Luke, Luke, grab a hold of this." ], [ "LUKE\n Well, I don't know anyone named Obi-\n Wan, but old Ben lives out beyond \n the dune sea. He's kind of a strange \n old hermit.", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "BEN\n I suggest you try it again, Luke.\n\n Ben places a large helmet on Luke's head which covers his \n eyes.", "LEIA\n Ben Kenobi is here! Where is he?\n\n LUKE\n Come on!\n\n INT. DEATH STAR - CONFERENCE ROOM", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "BEN\n Well of course, of course I know \n him. He's me! I haven't gone by the \n name Obi-Wan since oh, before you \n were born.", "BEN\n The Jundland wastes are not to be \n traveled lightly. Tell me young Luke, \n what brings you out this far?", "LUKE\n Obi-Wan Kenobi? I wonder if he means \n old Ben Kenobi?", "BEN\n That's your uncle talking.\n\n LUKE\n (sighing)\n Oh, God, my uncle. How am I ever \n going to explain this?", "Ben rubs his forehead. He seems to drift into a trance. Then \n he fixes his gaze on Luke.\n\n BEN\n You'd better get on with your \n exercises.", "LUKE\n I think my uncle knew him. He said \n he was dead.\n\n BEN\n Oh, he's not dead, not... not yet.", "BEN\n Quickly, son... they're on the move.\n\n INT. KENOBI'S DWELLING", "LEIA\n He's got to follow his own path. No \n one can choose it for him.\n\n LUKE\n I only wish Ben were here.", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "BEN\n A young Jedi named Darth Vader, who \n was a pupil of mine until he turned", "Ben Kenobi puts a hand on his shoulder.\n\n BEN\n You can't win. But there are \n alternatives to fighting.", "weathered by exotic climates is set off by dark, penetrating \n eyes and a scraggly white beard. Ben Kenobi squints his eyes", "BEN\n I need your help, Luke. She needs \n your help. I'm getting too old for \n this sort of thing.", "LUKE\n Ben? Ben Kenobi! Boy, am I glad to \n see you!", "LUKE\n Old Ben Kenobi lives out in this \n direction somewhere, but I don't see" ], [ "Luke reaches a sudden horrible realization, then races for \n the speeder and jumps it.\n\n BEN\n Wait, Luke! It's too dangerous.", "LUKE\n Well, come on. It's getting late. I \n only hope we can get back before \n Uncle Owen really blows up.", "Luke goes off and Han hesitates, then calls to him.\n\n HAN\n Hey, Luke... may the Force be with \n you!", "BEN\n Be patient, Luke. Stay and watch \n over the droids.\n\n LUKE\n But he can...", "Luke stumbles around in a daze looking for his aunt and uncle. \n Suddenly he comes upon their smoldering remains. He is \n stunned, and cannot speak. Hate replaces fear and a new \n resolve comes over him.", "LUKE\n I know, but he's got enough vaporators \n going to make the place pay off. He \n needs me for just one more season. I \n can't leave him now.", "HAN\n Whatever you say. I've done more \n that I bargained for on this trip \n already.\n\n LUKE\n I want to go with you.", "LUKE\n No!\n\n Luke says it with finality and looks away. Han smiles at \n young Luke's jealousy.", "Luke looks around to see where the voice came from. He turns \n toward the pirateship, ducking Imperial gunfire from the \n troopers and races into the ship.", "Luke continues to toy with his food, not looking at his uncle.\n\n OWEN\n You must understand I need you here, \n Luke.", "BEN'S VOICE\n Let go, Luke.\n\n A grim determination sweeps across Luke's face as he closes \n his eyes and starts to mumble Ben's training to himself.", "LUKE\n Obi-Wan Kenobi? I wonder if he means \n old Ben Kenobi?", "LUKE\n But what if this Obi-Wan comes looking \n for him?", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "LUKE\n Oh, no!\n\n Luke races out of the garage followed by Threepio.\n\n EXT. TATOOINE - LARS HOMESTEAD", "Luke stands in one place, seemingly frozen. The seeker makes \n a dive at Luke and, incredibly, he managed to deflect the \n bolt. The ball ceases fire and moves back to its original \n position.", "INT. LUKE'S X-WING FIGHTER\n\n Luke looks into his targeting device. He moves it away for a \n moment and ponders its use. He looks back into the computer \n targeter.", "Ben rubs his forehead. He seems to drift into a trance. Then \n he fixes his gaze on Luke.\n\n BEN\n You'd better get on with your \n exercises." ], [ "INT. DEATH STAR - CONTROL ROOM\n\n Grant Moff Tarkin and a Chief Officer stand in the Death \n Star's control room.", "COMMANDER\n Yes, sir.\n\n EXT. SPACE\n\n The Imperial Stardestroyer comes over the surface of the \n planet Tatooine.", "INT. DEATH STAR\n\n Several Imperial soldiers, flanking a pensive Grand Moff \n Tarkin, busily push control levers and buttons.", "EXT. SPACE\n\n The surface of the Death Star ominously approaches the red \n planet Yavin.\n\n INT. DEATH STAR - CONTROL ROOM", "The Death Star begins to move around the planet toward the \n tiny green moon.\n\n INT. DEATH STAR", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "INT. DEATH STAR - DOCKING BAY 2037\n\n Vader and a commander approach the troops as an Officer and \n several heavily armed troops exit the spacecraft.", "INT. DEATH STAR - CONTROL ROOM\n\n Admiral Motti enters the quiet control room and bows before \n Governor Tarkin, who stands before the huge wall screen \n displaying a small green planet.", "INT. DEATH STAR - MAIN GANTRY - COMMAND OFFICE", "EXT. SPACE\n\n Imperial TIE fighter races toward the Death Star.\n\n INT. DEATH STAR - DETENTION CORRIDOR", "INT. DEATH STAR - CONTROL ROOM", "Suddenly all heads turn as Commander Tagge's speech is cut \n short and the Grand Moff Tarkin, governor of the Imperial", "INT. DEATH STAR\n\n Darth Vader strides purposefully down a Death Star corridor, \n flanked by Imperial stormtroopers.", "EXT. SPACE AROUND THE DEATH STAR\n\n Three TIE fighters zoom across the surface of the Death Star.\n\n INT. DARTH VADER'S COCKPIT", "An Imperial Stardestroyer heads toward the evil planet-like \n battle station: the Death Star!\n\n INT. DEATH STAR - CONFERENCE ROOM", "TARKIN\n There. You see Lord Vader, she can \n be reasonable.\n (addressing Motti)\n Continue with the operation. You may \n fire when ready.", "Grand Moff Tarkin watches the projected target screen with \n satisfaction.\n\n DEATH STAR INTERCOM VOICE\n Rebel base, thirty seconds and \n closing.", "Standing in the middle of the chaos, a vision of calm and \n foreboding, is Darth Vader. One of his Astro-Officers rushes \n up to him.", "An officer reaches up and pushes buttons on the control panel, \n as green lighted buttons turn to red.\n\n EXT. SURFACE OF THE DEATH STAR", "VADER\n We'll have to destroy them ship to \n ship. Get the crews to their fighters.\n\n INT. DEATH STAR" ], [ "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "Luke is stunned by Biggs' death. His eyes are watering, but \n his anger is also growing.\n\n INT. DEATH STAR - CONTROL ROOM", "Luke stops in front of one of the cells and blasts the door \n away with a laser pistol. When the smoke clears, Luke sees", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "Luke peers out from his cockpit.\n\n EXT. SURFACE OF THE DEATH STAR", "HAN\n Boring conversation anyway.\n (yelling down the \n hall)\n Luke! We're going to have company!\n\n INT. DEATH STAR - CELL ROW", "Luke looks around to see where the voice came from. He turns \n toward the pirateship, ducking Imperial gunfire from the \n troopers and races into the ship.", "LUKE\n The princess? She's here?\n\n HAN\n Princess? What's going on?", "LUKE\n What? Oh... the uniform. I'm Luke \n Skywalker. I'm here to rescue you.\n\n LEIA\n You're who?", "LEIA\n Ben Kenobi is here! Where is he?\n\n LUKE\n Come on!\n\n INT. DEATH STAR - CONFERENCE ROOM", "LUKE\n (over speaker)\n Nothing. I'm all right.\n\n EXT. SURFACE OF THE DEATH STAR", "Leia is marched away down the hallway and into the smoldering \n hole blasted in the side of the ship. An Imperial Commander \n turns to Vader.", "Luke looks out the window of his X-wing at the explosion far \n below. For the first time, he feels the helplessness of his \n situation.\n\n INT. DEATH STAR", "INT. LUKE'S X-WING FIGHTER - COCKPIT\n\n Luke tries to spot Red Leader. He looks down at the Death \n Star surface.", "INT. DEATH STAR - DETENTION CORRIDOR", "HAN\n Marching into the detention area is \n not what I had in mind.\n\n LUKE\n But they're going to kill her!", "Luke adjusts his controls as he concentrates on the \n approaching Death Star. The ship begins to be buffeted \n slightly.", "Luke nosedives radically, starting his attack on the monstrous \n fortress. The Death Star surface streaks past the cockpit \n window.", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "EXT. SURFACE OF THE DEATH STAR\n\n Luke's fighter streaks through the trench.\n\n INT. DARTH VADER'S COCKPIT" ], [ "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "The Millennium Falcon powers away from the Death Star docking \n bay, makes a spectacular turn and disappears into the vastness \n of space.", "The victorious Millennium Falcon moves off majestically \n through space.\n\n INT. DEATH STAR - CONTROL ROOM", "The Millennium Falcon pirateship races away from the yellow \n planet, Tatooine. It is followed by two huge Imperial \n stardestroyers.", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "Luke's ship soars away from the Death Star's surface as he \n spots the tailing TIE fighter.\n\n INT. TIE FIGHTER'S COCKPIT", "The Death Star begins to move around the planet toward the \n tiny green moon.\n\n INT. DEATH STAR", "HAN\n Seems okay, if we can get to it. \n Just hope the old man got the tractor \n beam out of commission.\n\n INT. DEATH STAR - HALLWAY", "They start for the Millennium Falcon. Ben sees the troops \n charging toward him and realizes that he is trapped. Vader", "INT. RED LEADER'S COCKPIT\n\n Red Leader looks back at the receding Death Star. Tiny \n explosions are visible in the distance.", "The Rebel ships race out of sight, leaving the moon-like \n Death Star alone against a blanket of stars. Several small", "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "Luke adjusts his controls as he concentrates on the \n approaching Death Star. The ship begins to be buffeted \n slightly.", "Biggs, flying at high altitude, peels off and dives toward \n the Death Star surface, but he is unable to lose the TIE \n fighter, who sticks close to his tail.", "LUKE\n (over speaker)\n Nothing. I'm all right.\n\n EXT. SURFACE OF THE DEATH STAR", "Vader watches the escape but issues a command to his wingmen.\n\n VADER\n Let him go! Stay on the leader!", "EXT. SPACE AROUND THE DEATH STAR\n\n Wedge pulls his crippled X-wing back away from the battle.\n\n INT. DARTH VADER'S COCKPIT", "INT. GOLD LEADER'S Y-WING - COCKPIT\n\n The Death Star races by outside the cockpit window as he \n adjusts his targeting device.", "The tension mounts as the pirateship gains on the tiny \n fighter. In the distance, one of the stars becomes brighter \n until it is obvious that the TIE ship is heading for it. Ben \n stands behind Chewbacca.", "EXT. SPACE\n\n Imperial TIE fighter races toward the Death Star.\n\n INT. DEATH STAR - DETENTION CORRIDOR" ], [ "BEN'S VOICE\n Use the Force, Luke.\n\n EXT. SURFACE OF THE DEATH STAR\n\n The Death Star trench zooms by.", "Luke's ship streaks ever close to the exhaust port.\n\n INT. LUKE'S X-WING - COCKPIT\n\n Luke looks at the Death Star surface streaking by.", "INT. LUKE'S X-WING FIGHTER - COCKPIT\n\n Luke looks down at the Death Star surface below.", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "INT. LUKE'S X-WING FIGHTER - COCKPIT\n\n Luke tries to spot Red Leader. He looks down at the Death \n Star surface.", "Luke nosedives radically, starting his attack on the monstrous \n fortress. The Death Star surface streaks past the cockpit \n window.", "LUKE\n (over speaker)\n Nothing. I'm all right.\n\n EXT. SURFACE OF THE DEATH STAR", "Luke looks up and smiles. He concentrates on the exhaust \n port, then fires his laser torpedoes.\n\n EXT. SURFACE OF THE DEATH STAR", "Luke adjusts his controls as he concentrates on the \n approaching Death Star. The ship begins to be buffeted \n slightly.", "The X-wing fighters of Luke, Biggs, and Wedge fly in formation \n high above the Death Star's surface.\n\n INT. LUKE'S X-WING FIGHTER - COCKPIT", "Luke peers out from his cockpit.\n\n EXT. SURFACE OF THE DEATH STAR", "INT. LUKE'S X-WING FIGHTER\n\n Luke looks into his targeting device. He moves it away for a \n moment and ponders its use. He looks back into the computer \n targeter.", "The Death Star whips below Wedge.\n\n WEDGE\n I'm on him, Luke!\n\n INT. LUKE'S X-WING - COCKPIT", "Luke looks out the window of his X-wing at the explosion far \n below. For the first time, he feels the helplessness of his \n situation.\n\n INT. DEATH STAR", "INT. LUKE'S X-WING - COCKPIT\n\n Luke looks to the targeting device, then away as he hears \n Ben's voice.", "EXT. SURFACE OF THE DEATH STAR\n\n Luke's fighter streaks through the trench.\n\n INT. DARTH VADER'S COCKPIT", "BEN\n I suggest you try it again, Luke.\n\n Ben places a large helmet on Luke's head which covers his \n eyes.", "Luke nods his head.\n\n EXT. SPACE AROUND THE DEATH STAR", "INT. LUKE'S X-WING - COCKPIT\n\n Luke spots the TIE fighter behind him and soars away from \n the Death Star surface.", "EXT. SURFACE OF THE DEATH STAR - LUKE'S SHIP\n\n Luke's ship streaks through the trench of the Death Star." ], [ "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "It is a period of civil war. Rebel spaceships, \n striking from a hidden base, have won their first \n victory against the evil Galactic Empire.", "LUKE\n You know, I think that R2 unit we \n bought might have been stolen.\n\n OWEN\n What makes you think that?", "VADER\n They must be trying to return the \n stolen plans to the princess. She \n may yet be of some use to us.", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "IMPERIAL OFFICER\n The Death Star plans are not in the \n main computer.\n\n Vader squeezes the neck of the Rebel Officer, who struggles \n in vain.", "VADER\n Commander, tear this ship apart until \n you've found those plans and bring \n me the Ambassador. I want her alive!", "ship by Rebel spies. I want to know \n what happened to the plans they sent \n you.", "HAN\n Seems okay, if we can get to it. \n Just hope the old man got the tractor \n beam out of commission.\n\n INT. DEATH STAR - HALLWAY", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "Leia is marched away down the hallway and into the smoldering \n hole blasted in the side of the ship. An Imperial Commander \n turns to Vader.", "BEN\n That's good. You have taken your \n first step into a larger world.\n\n INT. DEATH STAR - CONFERENCE ROOM", "The Death Star begins to move around the planet toward the \n tiny green moon.\n\n INT. DEATH STAR", "EXT. SPACE\n\n The surface of the Death Star ominously approaches the red \n planet Yavin.\n\n INT. DEATH STAR - CONTROL ROOM", "EXT. SPACE - PLANET TATOOINE\n\n Imperial cruisers fire at the pirateship.\n\n INT. MILLENNIUM FALCON - COCKPIT", "LEIA\n Governor Tarkin, I should have \n expected to find you holding Vader's \n leash. I recognized your foul stench \n when I was brought on board.", "The pirateship is pulled in through port doors of the Death \n Star, coming to rest in a huge hangar. Thirty stormtroopers \n stand at attention in a central assembly area.", "Alderaan has failed. I have placed \n information vital to the survival of \n the Rebellion into the memory systems", "The aide immediately reaches for his pistol, but is blasted \n by Han, dressed as an Imperial stormtrooper. Ben and the \n robots enter the room quickly followed by Luke, also dressed" ], [ "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "As the fighters move closer to the Death Star, the awesome \n size of the gargantuan Imperial fortress is revealed. Half", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "EXT. SPACE\n\n The surface of the Death Star ominously approaches the red \n planet Yavin.\n\n INT. DEATH STAR - CONTROL ROOM", "It is a period of civil war. Rebel spaceships, \n striking from a hidden base, have won their first \n victory against the evil Galactic Empire.", "The Death Star begins to move around the planet toward the \n tiny green moon.\n\n INT. DEATH STAR", "EXT. SPACE\n\n Imperial TIE fighter races toward the Death Star.\n\n INT. DEATH STAR - DETENTION CORRIDOR", "four moons. The red dot that represents the Death Star moves \n ever closer to the system. A series of green dots appear \n around the fourth moon. A din of indistinct chatter fills", "Silhouetted against the rim lights of the Death Star horizon, \n four ferocious Imperial TIE ships dive on the Rebel fighters.", "An Imperial Stardestroyer heads toward the evil planet-like \n battle station: the Death Star!\n\n INT. DEATH STAR - CONFERENCE ROOM", "EXT. DEATH STAR - GUN EMPLACEMENTS\n\n The Death Star laser cannon slowly rotates as it shoots \n laserbolts.", "by a giant Imperial Stardestroyer. Hundreds of deadly \n laserbolts streak from the Imperial Stardestroyer, causing \n the main solar fin of the Rebel craft to disintegrate.", "TARKIN\n I think it is time we demonstrate \n the full power of this station.\n (to soldier)\n Set your course for Princess Leia's \n home planet of Alderaan.", "Laserbolts streak through the star-filled night. The Rebel X-\n wing fighters move in toward the Imperial base, as the Death \n Star aims its massive laser guns at the Rebel forces and \n fires.", "The Death Star slowly moves behind the massive yellow surface \n of Yavin in the foreground, as many X-wing fighters flying \n in formation zoom toward us and out of the frame.", "COMMANDER\n Yes, sir.\n\n EXT. SPACE\n\n The Imperial Stardestroyer comes over the surface of the \n planet Tatooine.", "Luke's X-wing races toward the Death Star. Laserbolts streak \n from Luke's weapons, creating a huge fireball explosion on \n the dim surface.", "The fighters, now X-shaped darts, move in formation. The \n Death Star now appears to be a small moon growing rapidly in", "The Rebel ships race out of sight, leaving the moon-like \n Death Star alone against a blanket of stars. Several small", "The small moon begins to take on the appearance of a monstrous \n spherical battle station.\n\n BEN\n That's no moon! It's a space station." ], [ "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "The Death Star begins to move around the planet toward the \n tiny green moon.\n\n INT. DEATH STAR", "The Death Star superstructure races past Luke as he maneuvers \n his craft through a wall of laserfire and peels away from \n the surface towards the heavens.\n\n INT. DEATH STAR", "HAN\n Seems okay, if we can get to it. \n Just hope the old man got the tractor \n beam out of commission.\n\n INT. DEATH STAR - HALLWAY", "EXT. SPACE\n\n The surface of the Death Star ominously approaches the red \n planet Yavin.\n\n INT. DEATH STAR - CONTROL ROOM", "Leia and the others stare intently at the projected screen, \n while Threepio watches the Princess. Lights representing the \n Death Star and targets glow brightly.", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "As the fighters move closer to the Death Star, the awesome \n size of the gargantuan Imperial fortress is revealed. Half", "IMPERIAL OFFICER\n The Death Star plans are not in the \n main computer.\n\n Vader squeezes the neck of the Rebel Officer, who struggles \n in vain.", "INT. DEATH STAR\n\n Several Imperial soldiers, flanking a pensive Grand Moff \n Tarkin, busily push control levers and buttons.", "Red Leader looks around at his wingmen; the Death Star looming \n in from behind. Two Y-wing fighters bob back and forth in \n the background. He moves his computer targeting device into \n position.", "Dodonna and Princess Leia, with Threepio beside them, listen \n intently to the talk between the pilots. The room is grim \n after Red Leader's death. Princess Leia nervously paces the \n room.", "INT. DEATH STAR - CONTROL ROOM\n\n Admiral Motti enters the quiet control room and bows before \n Governor Tarkin, who stands before the huge wall screen \n displaying a small green planet.", "EXT. SPACE\n\n Imperial TIE fighter races toward the Death Star.\n\n INT. DEATH STAR - DETENTION CORRIDOR", "INT. DEATH STAR\n\n Technical crews scurry here and there loading last-minute \n armaments and unlocking power cables.\n\n INT. WEDGE'S COCKPIT", "Alderaan has failed. I have placed \n information vital to the survival of \n the Rebellion into the memory systems", "LUKE\n (over speaker)\n Nothing. I'm all right.\n\n EXT. SURFACE OF THE DEATH STAR", "Two squads of Rebel fighters peel off. The X-wings dive \n towards the Death Star surface. A thousand lights glow across \n the dark grey expanse of the huge station.\n\n INT. DEATH STAR", "INT. DEATH STAR - CONTROL ROOM\n\n Grant Moff Tarkin and a Chief Officer stand in the Death \n Star's control room.", "VADER\n They must be trying to return the \n stolen plans to the princess. She \n may yet be of some use to us." ], [ "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "Chewbacca and Princess Leia search the heavens for attacking \n TIE fighters. The Wookiee pulls back on the speed controls \n as the ship bounces slightly.", "Han is watching the dozen or so troops moving in and out of \n the pirateship. Leia moves towards Han, touches his arm and \n points out the window to the ship.", "The lovely young girl huddles in a small alcove as the \n stormtroopers search through the ship. She is Princess Leia", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "HAN\n Easy... you call that easy?\n\n LEIA\n Their tracking us!\n\n HAN\n Not this ship, sister.", "Luke, Han, Chewbacca, and Leia run down an empty hallway and \n stop before a bay window overlooking the pirateship. Troopers \n are milling about the ship. Luke takes out his pocket comlink.", "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "While Chewbacca manipulates the controls, Leia turns, looking \n over her shoulder out the ports.\n\n LEIA\n There are still two more of them out \n there!", "EXT. SPACE - PLANET TATOOINE\n\n Imperial cruisers fire at the pirateship.\n\n INT. MILLENNIUM FALCON - COCKPIT", "Leia is marched away down the hallway and into the smoldering \n hole blasted in the side of the ship. An Imperial Commander \n turns to Vader.", "princess in his arms. Leia looks at Luke, then kisses him \n quickly on the lips. Luke is very surprised.", "The Millennium Falcon pirateship races away from the yellow \n planet, Tatooine. It is followed by two huge Imperial \n stardestroyers.", "LUKE\n (laughing)\n That's it! We did it!\n\n The princess jumps up and gives Chewie a congratulatory hug.", "LEIA\n (into intercom)\n Here they come!\n\n INT. MILLENNIUM FALCON - COCKPIT - POV (POINT OF VIEW) - \n SPACE", "A TIE fighter streaks in front of the starship.\n\n INT. MILLENNIUM FALCON - COCKPIT\n\n Leia watches the TIE fighter ship fly over.", "VOICE\n (over intercom)\n We've captured a freighter entering \n the remains of the Alderaan system.", "Leia hits one of the stormtroopers on the bridge above, and \n he falls into the abyss. Luke tosses the rope across the", "EXT. SPACE\n\n A TIE fighter moves up over the pirateship, firing laserblasts \n at it.\n\n INT. MILLENNIUM FALCON - GUNPORTS", "They start for the Millennium Falcon. Ben sees the troops \n charging toward him and realizes that he is trapped. Vader" ], [ "The lovely young girl huddles in a small alcove as the \n stormtroopers search through the ship. She is Princess Leia", "Pursued by the Empire's sinister agents, Princess \n Leia races home aboard her starship, custodian of \n the stolen plans that can save her people and \n restore freedom to the galaxy...", "Leia steps from her hiding place and blasts a trooper with \n her laser pistol. She starts to run but is felled by a \n paralyzing ray. The troopers inspect her inert body.", "Frustrated, Leia shakes her head.\n\n LEIA\n At least the information in Artoo is \n still intact.", "During the battle, Rebel spies managed to steal \n secret plans to the Empire's ultimate weapon, the \n Death Star, an armored space station with enough \n power to destroy an entire planet.", "Leia is marched away down the hallway and into the smoldering \n hole blasted in the side of the ship. An Imperial Commander \n turns to Vader.", "Everyone dives for cover in the garbage as the bolt explodes \n almost on top of them. Leia climbs out of the garbage with a \n rather grim look on her face.", "Dodonna and Princess Leia, with Threepio beside them, listen \n intently to the talk between the pilots. The room is grim \n after Red Leader's death. Princess Leia nervously paces the \n room.", "Alderaan has failed. I have placed \n information vital to the survival of \n the Rebellion into the memory systems", "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "Han watches her start away. He looks at Luke.\n\n HAN\n No reward is worth this.\n\n They follow her, moving swiftly down the deserted corridor.", "INT. REBEL BLOCKADE RUNNER\n\n A woman's hand puts a card into an opening in Artoo's dome. \n Artoo makes beeping sounds.", "Leia overhears an intercom voice announcing the approach to \n Alderaan.\n\n LEIA\n (softly)\n Dantooine.", "INT. MASSASSI OUTPOST - WAR ROOM\n\n Leia and the others stare at the computer board.\n\n INT. LUKE'S X-WING COCKPIT", "Leia and the others stare intently at the projected screen, \n while Threepio watches the Princess. Lights representing the \n Death Star and targets glow brightly.", "Leia lowers her head.\n\n LEIA\n They're on Dantooine.", "Han is watching the dozen or so troops moving in and out of \n the pirateship. Leia moves towards Han, touches his arm and \n points out the window to the ship.", "LEIA\n There's no lock!\n\n Luke blasts the controls with his laser pistol.\n\n LUKE\n That oughta hold it for a while.", "Luke takes a wedged bar and pops the restraining bolt off \n Artoo's side.\n\n LUKE\n There you go.\n\n The princess immediately disappears..." ], [ "TROOPER\n All right.\n\n The guard nods and Threepio, with little Artoo in tow, hurries \n out the door.", "An explosion rocks the ship as two robots, Artoo-Detoo (R2-\n D2) and See-Threepio (C-3PO) struggle to make their way", "Threepio ducks out of sight as the seven stormtroopers who \n were guarding the starship rush past them heading towards \n Ben and The Sith Knight. He pulls on Artoo.", "LUKE\n Oh, no!\n\n Luke races out of the garage followed by Threepio.\n\n EXT. TATOOINE - LARS HOMESTEAD", "Suddenly Artoo whistles, makes a sharp right turn and starts \n off in the direction of the rocky desert mesas. Threepio \n stops and yells at him.", "The Jawa goes into a loud spiel. Meanwhile, Artoo has sneaked \n out of line and is moving up and down trying to attract", "Threepio paces the control center as little Artoo beeps and \n whistles a blue streak. Threepio yells into the small comlink \n transmitter.", "A familiar clanking sound attacks Threepio's attention and \n he spots little Artoo at the end of the hallway in a smoke-", "A trooper pushes a button and the supply cabinet door slides \n open. See-Threepio and Artoo-Detoo are inside. Artoo follows \n his bronze companion out into the office.", "Artoo scoots past his bronze friend and races down the \n subhallway. Threepio chases after him.\n\n THREEPIO\n Wait a minute, where are you going?", "A new explosion, this time very close, sends dust and debris \n through the narrow subhallway. Flames lick at Threepio and,", "INT. DEATH STAR - DOCKING BAY\n\n Threepio and Artoo-Detoo are in the center of the Death Star's \n Imperial docking bay.", "Artoo forces himself into the shadows of a small alcove in \n the rocks as the vicious Sandpeople walk past carrying the", "Threepio gives the little robot a kick and starts off in the \n direction of the vast dune sea.", "The crewmen lower Artoo-Detoo into the craft. Now a part of \n the exterior shell of the starship, the little droid beeps \n that he is fine.", "through the shaking, bouncing passageway. Both robots are \n old and battered. Artoo is a short, claw-armed tripod. His", "Artoo moves even tighter into the shadows as the slight \n swishing sound that frightened off the Sandpeople grows even", "One of the troopers checks a tightly locked door and moves \n on down the alleyway. The door slides open a crack and \n Threepio peeks out. Artoo is barely visible in the background.", "As the Jawas start to lead the three remaining robots back \n into the Sandcrawler, Artoo lets out a pathetic little beep", "Artoo whistles and beeps a long message to Threepio." ], [ "An explosion rocks the ship as two robots, Artoo-Detoo (R2-\n D2) and See-Threepio (C-3PO) struggle to make their way", "and starts after his old friend Threepio. He is restrained \n by a slimy Jawa, who zaps him with a control box.", "TROOPER\n All right.\n\n The guard nods and Threepio, with little Artoo in tow, hurries \n out the door.", "A trooper pushes a button and the supply cabinet door slides \n open. See-Threepio and Artoo-Detoo are inside. Artoo follows \n his bronze companion out into the office.", "INT. DEATH STAR - DOCKING BAY\n\n Threepio and Artoo-Detoo are in the center of the Death Star's \n Imperial docking bay.", "The Jawas mutter gibberish as they busily line up their \n battered captives, including Artoo and Threepio, in front of", "The little R2 unit makes a series of electronic sounds that \n only another robot could understand.\n\n THREEPIO\n There'll be no escape for the Princess \n this time.", "The crewmen lower Artoo-Detoo into the craft. Now a part of \n the exterior shell of the starship, the little droid beeps \n that he is fine.", "The eight Jawas carry Artoo out of the canyon to a huge tank-\n like vehicle the size of a four-story house. They weld a", "The Jawa goes into a loud spiel. Meanwhile, Artoo has sneaked \n out of line and is moving up and down trying to attract", "Threepio and Artoo noisily bounce along inside the cramped \n prison chamber. Artoo appears to be shut off.\n\n THREEPIO\n Wake up! Wake up!", "A familiar clanking sound attacks Threepio's attention and \n he spots little Artoo at the end of the hallway in a smoke-", "THREEPIO\n They aren't here! Something must \n have happened to them. See if they've \n been captured.", "Threepio is seated in the hold area, next to Artoo-Detoo. \n The pirateship bounces and vibrates as the power goes out in \n the room and then comes back on.", "As the Jawas start to lead the three remaining robots back \n into the Sandcrawler, Artoo lets out a pathetic little beep", "Threepio ducks out of sight as the seven stormtroopers who \n were guarding the starship rush past them heading towards \n Ben and The Sith Knight. He pulls on Artoo.", "than Artoo. They holster strange and complex weapons as they \n cautiously approach the robot. They wear grubby cloaks and \n their faces are shrouded so only their glowing eyes can be", "One of the troopers checks a tightly locked door and moves \n on down the alleyway. The door slides open a crack and \n Threepio peeks out. Artoo is barely visible in the background.", "LUKE\n Oh, no!\n\n Luke races out of the garage followed by Threepio.\n\n EXT. TATOOINE - LARS HOMESTEAD", "Little Artoo stands at the edge of a large sand pit and begins \n to chatter away in electronic whistles and beeps. Luke and" ], [ "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "Troopers look on in interest as the old Jedi and Dark Lord \n of The Sith fight. Suddenly Luke spots the battle from his \n group's vantage point.", "Luke looks around to see where the voice came from. He turns \n toward the pirateship, ducking Imperial gunfire from the \n troopers and races into the ship.", "Luke looks at old Ben, who is busy talking to one of the \n Galactic pirates. He notices several of the gruesome creatures \n along the bar are giving him a very unfriendly glare.", "Luke stumbles around in a daze looking for his aunt and uncle. \n Suddenly he comes upon their smoldering remains. He is \n stunned, and cannot speak. Hate replaces fear and a new \n resolve comes over him.", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "LUKE\n Maybe they know what happened.\n\n BEN\n It's an Imperial fighter.", "Leia gives Luke a little kiss, turns, and goes off. As Luke \n heads for his ship, another pilot rushes up to him and grabs \n his arm.", "Luke, shaking and totally amazed at the old man's abilities, \n attempts to stand. The entire fight has lasted only a matter \n of seconds. The cantina goes back to normal, although Ben is", "Darth Vader steps into view at the end of the tunnel, not \n ten feet away. Vader lights his saber. Ben also ignites his \n and steps slowly forward.", "LUKE\n Got him! I got him!\n\n Han turns and gives Luke a victory wave which Luke gleefully \n returns.", "The old Jedi Knight looks over his shoulder at Luke, lifts \n his sword from Vader's then watches his opponent with a serene \n look on his face.", "Luke peers out from his cockpit.\n\n EXT. SURFACE OF THE DEATH STAR", "Luke nods his head.\n\n EXT. SPACE AROUND THE DEATH STAR", "Luke hasn't really been listening.\n\n LUKE\n How did my father die?", "The rodent lets out a loud grunt and everything at the bar \n moves away. Luke tries to remain cool but it isn't easy. His \n three adversaries ready their weapons. Old Ben moves in behind \n Luke.", "Luke looks anxiously at the exhaust port.\n\n INT. DARTH VADER'S COCKPIT\n\n Vader adjusts his control sticks, checking his projected \n targeting screen.", "Luke is stunned by Biggs' death. His eyes are watering, but \n his anger is also growing.\n\n INT. DEATH STAR - CONTROL ROOM", "LUKE\n Well, who... who has he found?\n\n Artoo whistles a frantic reply.\n\n THREEPIO\n Princess Leia.", "Falcon, while Luke, transfixed by anger and awe, returns \n their fire. Solo joins in the laserfire. Vader looks up and" ], [ "BEN\n Well of course, of course I know \n him. He's me! I haven't gone by the \n name Obi-Wan since oh, before you \n were born.", "BEN\n Well, the Force is what gives a Jedi \n his power. It's an energy field", "property of an Obi-Wan Kenobi. Is he \n a relative of yours? Do you know who \n he's talking about?", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "BEN\n Remember, a Jedi can feel the Force \n flowing through him.\n\n LUKE\n You mean it controls your actions?", "BEN\n Obi-Wan Kenobi... Obi-Wan? Now thats \n a name I haven't heard in a long \n time... a long time.", "BEN\n The Force can have a strong influence \n on the weak-minded. You will find it \n a powerful ally.", "Obi-Wan Kenobi jibberish... and don't \n talk to me about your mission, either. \n You're fortunate he doesn't blast", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "LUKE\n Well, I don't know anyone named Obi-\n Wan, but old Ben lives out beyond \n the dune sea. He's kind of a strange \n old hermit.", "LUKE\n Obi-Wan Kenobi? I wonder if he means \n old Ben Kenobi?", "BEN\n I felt a great disturbance in the \n Force... as if millions of voices \n suddenly cried out in terror and \n were suddenly silenced. I fear \n something terrible has happened.", "Ben Kenobi puts a hand on his shoulder.\n\n BEN\n You can't win. But there are \n alternatives to fighting.", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "TARKIN\n Obi-Wan Kenobi! What makes you think \n so?", "BEN\n You can't win, Darth. If you strike \n me down, I shall become more powerful \n than you can possibly imagine.", "Luke, shaking and totally amazed at the old man's abilities, \n attempts to stand. The entire fight has lasted only a matter \n of seconds. The cantina goes back to normal, although Ben is", "TARKIN\n The princess! Put all sections on \n alert!\n\n VADER\n Obi-Wan is here. The Force is with \n him.", "weathered by exotic climates is set off by dark, penetrating \n eyes and a scraggly white beard. Ben Kenobi squints his eyes", "BEN\n A young Jedi named Darth Vader, who \n was a pupil of mine until he turned" ], [ "Ben hands Luke the saber.\n\n LUKE\n What is it?", "LUKE\n Well, I stumbled across a recording \n while I was cleaning him. He says he \n belongs to someone called Obi-Wan \n Kenobi.", "BEN\n I suggest you try it again, Luke.\n\n Ben places a large helmet on Luke's head which covers his \n eyes.", "property of an Obi-Wan Kenobi. Is he \n a relative of yours? Do you know who \n he's talking about?", "LUKE\n You fought in the Clone Wars?\n\n BEN\n Yes, I was once a Jedi Knight the \n same as your father.", "Ben watches Luke practice the lightsaber with a small \"seeker\" \n robot. Ben suddenly turns away and sits down. He falters, \n seems almost faint.", "The old Jedi Knight looks over his shoulder at Luke, lifts \n his sword from Vader's then watches his opponent with a serene \n look on his face.", "LUKE\n Obi-Wan Kenobi? I wonder if he means \n old Ben Kenobi?", "BEN\n Your fathers lightsaber. This is the \n weapon of a Jedi Knight. Not as clumsy \n or as random as a blaster.", "LUKE\n Okay. Han, you put these on.\n\n Luke sheepishly hands the binders to Han.", "Ben Kenobi puts a hand on his shoulder.\n\n BEN\n You can't win. But there are \n alternatives to fighting.", "takes advantage of Ben's momentary distraction and brings \n his mighty lightsaber down on the old man. Ben manages to \n deflect the blow and swiftly turns around.", "BEN\n Be patient, Luke. Stay and watch \n over the droids.\n\n LUKE\n But he can...", "BEN\n The Jundland wastes are not to be \n traveled lightly. Tell me young Luke, \n what brings you out this far?", "BEN\n Well of course, of course I know \n him. He's me! I haven't gone by the \n name Obi-Wan since oh, before you \n were born.", "Luke stands in the middle of the small hold area; he seems \n frozen in place. A humming lightsaber is held high over his", "Luke goes off and Han hesitates, then calls to him.\n\n HAN\n Hey, Luke... may the Force be with \n you!", "LUKE\n Well, I don't know anyone named Obi-\n Wan, but old Ben lives out beyond \n the dune sea. He's kind of a strange \n old hermit.", "and the robots reach the starship. Luke sees Ben cut in two \n and starts for him. Aghast, he yells out.", "Luke stands in one place, seemingly frozen. The seeker makes \n a dive at Luke and, incredibly, he managed to deflect the \n bolt. The ball ceases fire and moves back to its original \n position." ] ]

[ "Who is the Rrebel Alliance leader?", "What did Leia do with the plans before she was captured?", "How did Luke Skywalker accidently trigger part of Leia's plan?", "Where did Obi-Wan tell Luke that the Galactic peace keepers got their powers from?", "Which weapon did Obi-Wan present Luke with after explaining that Vader turned to the dark side?", "What did Luke and Obi-Wan hire Hans ans Chewbacca to do?", "Who did Obi-Wan engage in a lightsaber duel with?", "How did the Empire find the Rebels' hidden base on Yavin?", "What did the Rebel Alliance spies steal? ", "What is R2-D2? ", "What type of planet is Tatooine? ", "How does Luke trigger Leia's message? ", "What does the hermit Ben Kenobi reveal to Luke?", "Why does Luke change his mind about going with Obi-Wan?", "Who is the Death Star's commanding officer? ", "Who does Luke discover imprisoned on the Death Star?", "What is the Falcon unknowingly carrying when it escapes the Death Star?", "What helps guide Luke to use the force and destroy the Death Star? ", "Who stole plans for the Galactic Empire's Death Star?", "What is the Galactic Empire's Death Star?", "Who has Death Star plans?", "Who captures Princess Leia's ship?", "Where does Leia hide the Death Star plans before she's captured?", "Where does R2-D2 flee with C3PO?", "Who captured R2-D2 and C3PO?", "Who does Luke find out his father Anakin fought alongside?", "What did Obi-Wan get his supernatural powers from?", "What did Obi-Wan give to Luke?" ]

[ [ "Princess Leia.", "Princess Leia" ], [ "She hid them in a droid.", "She hides the plans in R2D2's memory." ], [ "He was cleaning the Droid and he accidentally triggered it.", "Cleaning R2-D2" ], [ "The Force.", "The Force" ], [ "He showed Luke the lightsaber.", "Luke's father's weapon- a light saber" ], [ "Transport them to Alderaan..", "To take them to Alderaan." ], [ "Darth Vader.", "Darth Vader" ], [ "The Falcon was carrying a tracking beacon.", "The Falcon carries a tracking beacon." ], [ "Plans to the Galactic Empire's Death Star. ", "Plans for the Death Star." ], [ "An astromech droid. ", "An astromech droid" ], [ "A desert planet. ", "a desert planet" ], [ "By cleaning R2-D2. ", "Cleaning R2-D2" ], [ "That he is Obi-Wan Kenobi. ", "That Lukes father was a Jedi killed by Darth Vader" ], [ "His family was killed by Imperial Stormtroopers. ", "His aunt and uncle are killed by stormtroopers. " ], [ "Grand Moff Tarkin. ", "Darth Vader" ], [ "Leia.", "Leia" ], [ "A tracking becon. ", "A tracking beacon" ], [ "Obi-Wan's spirit. ", "Obi-Wan's spirit." ], [ "Spies for the Rebel Alliance", "Princess Leia" ], [ "A heavily armed space station for destroying planets", "A space station that can destroy planets" ], [ "Princess Leia", "The Rebels" ], [ "Imperial forces under Darth Vader ", "Darth Vader" ], [ "In R2-D2", "in the memory of R2D2" ], [ "planet Tatooine", "Tatooine" ], [ "Jawa traders", "Jawa traders. " ], [ "Obi-Wan", "Obi-Wan Kenobi." ], [ "The Force", "The Force" ], [ "He gave Luke Anakin's light saber", "A lightsaber." ] ]

[ [ "'The place of husband to Miss Power, and proprietor of that castle and\ndomain.'\n\n'That's a scheme with a vengeance. Who is the man?'\n\n'It is my secret at present.'", "'The lady's name is Miss Paula Power, who, as you may have heard since\nyour arrival, is in absolute possession of her father's property and", "'That what?'\n\n'That railway. He was Mr. John Power, the great railway contractor. And\nit was through making the railway that he discovered this castle--the\nrailway was diverted a little on its account.'", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "He passed under the castle-arch and entered. There seemed a little turn\nin the tide of affairs when it was announced to him that Miss Power\nexpected him, and was alone.", "'Poor man,' murmured Paula. 'He was my father's architect, and somehow\nexpected, though I did not promise it, the work of rebuilding the\ncastle.'", "'Well, what news?' said Dare.\n\n'Miss Power has returned to the castle, Somerset is detained in London,\nand the competition is decided,' said Havill, with a glance of quiet\ndubiousness.", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "and pictures of the castle which belonged to the De Stancys are not\nrestricted from sale; they are hers to do what she likes with. Old Power", "A note was despatched to Havill that very day, and in an hour the\ncrestfallen architect presented himself at the castle. Paula instantly", "Mr. Power bought it of the representatives of Mr. Wilkins--almost\nimmediately indeed--than he died from a chill caught after a warm bath.\nOn account of that she did not take possession for several months; and", "That morning the post-bag had been brought to Paula and Mrs. Goodman\nin the usual way, and Miss Power read the letter. His resignation was a", "Power, was discovered asleep on the sofa of the landlord's parlour. At\nhalf-past five Paula, who in the interim had been pensively sitting with", "'Those originally belonged to the castle yonder,' said Miss De Stancy,\nor Charlotte, as her father called her, noticing Somerset's glance at", "The population of the castle had increased in his absence. There were\nassembled Paula and her friend Charlotte; a bearded man some years older", "castle. The paper was two days old, but to his unutterable amazement he\nread therein a paragraph which ran as follows:--", "His serenity continued during two or three following days, when,\ncontinuing at the castle, he got pleasant glimpses of Paula now and", "the occasion on which the party represented by Paula battered down the\ncastle walls that she was now about to mend, and, as he hoped, return in\ntheir original intact shape to the family dispossessed, by marriage with", "One curious impression which had often haunted him now returned with\nredoubled force. He could not see himself as the husband of Paula Power", "Abner Power walked back to the castle at a slow and equal pace, as\nthough he carried an over-brimming vessel on his head. He silently let" ], [ "marry his successor in the title. George Somerset had started on a\nprofessional journey that took him through the charming district which\nlay around Stancy Castle. Having resigned his appointment as architect", "'Now, George--you see I say George, and not Mr. Somerset, and you may\ndraw your own inference--don't be so morbid in your reproaches! I have", "got to like George Somerset as desperately as a woman can care for any\nman. I thought I should have died when I saw him dancing, and feared", "Somerset told the news. His father duly congratulated him, and added\ngenially, 'It is well to be you, George. One large commission to attend", "To return for a while to George Somerset. The sun of his later existence\nhaving vanished from that young man's horizon, he confined himself", "'He is a young man: he has been to our house. Don't you remember you met\nhim there?'\n\n'What was his name?'\n\n'Mr. Somerset.'", "'O, George Somerset--be cold, or angry, or anything, but don't be\nlike this! It is never worth a woman's while to show regret for her", "'Mr. Somerset.'\n\nMiss De Stancy had schooled her emotions on that side cruelly well, and\nshe asked calmly, 'What, have you chosen him after all?'", "Her exclamation had its origin in what she had at that moment seen\nwithin, the spectacle of Mr. George Somerset whirling round the room", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "'Somerset the architect. He suspects your having broken into his office\nor something of the sort.' De Stancy briefly related what Somerset had\nexplained to him at the dinner-table.", "Somerset so frigidly, and relief that it was Paula who did so. For,\nnotwithstanding her assumption that Somerset could never be anything\nmore to her than he was already, Charlotte's heart would occasionally", "'MY DEAR MR. SOMERSET' (the 'George,' then, to which she had so kindly\ntreated him in her last conversation, was not to be continued in black\nand white),--", "Somerset at once perceived that he had been to blame in not thinking of\nthis.\n\n'Please do forgive my thoughtlessness in not reflecting how it would\nstrike you!' he pleaded. 'I--I see I have alarmed you.'", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "'Now, don't fume so, George Somerset, but hear me. My not owning all\nmay not have the dreadful meaning you think, and therefore it may not", "Somerset was silent. Dare continued: 'Now I have done you a favour, will\nyou do me one in return?'\n\nSomerset looked towards the gaming-rooms, and said dubiously, 'Well?'", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "Mr. Somerset's. I find that this envelope is not the right one.' He\nostensibly searched his pocket again. 'I must have mislaid it,' he", "that George Somerset, son of the Academician of that name, was a man\nof independent tastes and excursive instincts, who unconsciously, and\nperhaps unhappily, took greater pleasure in floating in lonely currents" ], [ "'Also of photography,' said Dare with a bow. 'Though but an amateur in\nthat art I can challenge comparison with Regent Street or Broadway.'", "'I have met my young photographer,' said De Stancy cheerily. 'What a\nsmall world it is, as everybody truly observes! I am wishing he could", "Meanwhile Dare had come forward with his portfolio, which proved to be\nfull of photographs. While Paula and Charlotte were examining them he", "recklessly frank and not quite mercenary. His photographic scheme was\nnothing worse than a lover's not too scrupulous contrivance. After the", "photographic amateur, and it seems that he wrote some time ago to Miss\nPower, who gave him permission to take views of the castle, and promised\nto show him the best points. But I have heard nothing of it, and", "But the captain had, and when Havill entered the castle he rejoiced with\ngreat joy. Dare, too, rejoiced in his cold way, and went on with his\nphotography, saying, 'The game progresses, captain.'", "that these conversations occurred, while De Stancy was ostensibly\noccupied with its merits, or in giving directions to his photographer\nhow to proceed. As soon as the dialogue began, the latter would withdraw", "The speaker entered to arrange his photographic apparatus, of which, in\ntruth, he was getting weary; and De Stancy smoked on the terrace till", "Paula asked her a second time what had made her exclaim like that. Miss\nDe Stancy still seemed confused, whereupon Paula noticed that her eyes\nwere continually drawn as if by fascination towards the photograph on", "It was now Mr. Power's turn. Anticipating Dare, who was advancing with\na deprecatory look to seize the photograph, he also grasped it. When he", "Returning to Markton early, she told the coachman whom Paula had sent,\nto drive her to the shop of Mr. Ray, an obscure photographic artist in\nthat town, instead of straight home.", "Havill clapped his hand to his pocket, examined the book Dare held out\nto him, and took it with thanks. 'I see I am speaking to the artist,\narchaeologist, Gothic photographer--Mr. Dare.'", "'Yes,' returned Paula, with reservation. However, she soon added, 'He\nnot only wants to photograph his ancestors, but MY portrait too. They\nare a dreadfully encroaching sex, and perhaps being in the army makes\nthem worse!'", "All the afternoon her poor little head was busy on this perturbing\nquestion, till she inquired of herself whether after all it might not\nbe possible for photographs to represent people as they had never been.", "'Then I take leave of you; and tender my best wishes that you may have a\npleasant time before you!.... I set out for England to-night.'\n\n'With a special photographer, no doubt?'", "Her eyes were bent on the window. Looking out, Somerset saw in the mead\nbeyond the dry ditch, Dare, with his photographic apparatus.", "When the chief constable had left the house, Captain De Stancy shut\nthe door and drew out the original photograph. As he looked at the", "De Stancy's hobby of photographing his ancestors seemed to become a\nperfect mania with him. Almost every morning discovered him in", "'What persistence!' exclaimed Paula, colouring. 'Very well, if you\nWILL photograph my picture you must. It is really not worthy further\npleading. Take it when you like.'", "Captain De Stancy bowed.\n\n'What are you going to do with your photographs when you have them?' she\nasked, as if still anxious to obliterate the previous sentimental lapse." ], [ "world yet, and Captain De Stancy is too near middle-age for a girl like\nyou.' Paula did not reply to either of these remarks, being seemingly so", "'Then the captain is now Sir William De Stancy!' she exclaimed. 'Really,\nPaula, since you would be Lady De Stancy by marrying him, I almost\nthink--'\n\n'Hush, aunt!'", "'O, Captain De Stancy, this is provoking perseverance!' cried Paula,\nlaughing half crossly. 'I expected that after expressing my decision", "'Captain De Stancy, it is not like that, I assure you,' sympathized\nPaula with damp eyelashes. 'I love Charlotte too dearly for you to talk", "Captain De Stancy knew himself conquered: he knew he should yield to\nPaula--had indeed yielded; but there was now, in his solitude, an hour", "guessed, in Captain De Stancy's journey in the same direction, whom\nhe had followed, and troubled with persistent request for more funds,\ncarefully keeping out of sight of Paula and the rest. His dream of", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "'You know the house, doubtless, Captain De Stancy?' said Paula, somewhat\nshyly, when he had been presented to her.", "'My dearest Paula,' repeated De Stancy faintly, his complexion changing\nto that of a man who had died.", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "'Not absolutely; though I think Captain De Stancy will not refuse it;\nand he is a very good figure. At present it lies between him and Mr.", "'It contains Paula.'\n\nDe Stancy's pulse, which had been beating languidly for many years, beat\ndouble at the sound of that name.", "to be those of De Stancy. He turned his head, jumped up, and was at her\nside in an instant, a nettled flush having meanwhile crossed Paula's\nface.", "The sight of Paula in her graceful performance, which the judicious\nDare had so carefully planned, led up to and heightened by subtle\naccessories, operated on De Stancy's surprised soul with a promptness\nalmost magical.", "'Captain De Stancy, I have long felt for you,' she continued, with a\nfrank glance into his face. 'You have deprived yourself too long of", "a Neo-Greek, and a person of red blood; while Captain De Stancy is the\nreverse of them all!'", "'Captain De Stancy!' she said, trembling and turning away. 'Captain De\nStancy!' She tried to withdraw her fingers, then faced him, exclaiming", "'I sometimes think she will take to her as husband the present\nrepresentative of that impoverished line--Captain De Stancy--which she\nmay easily do, if she chooses, as his behaviour to-day showed.'", "'Captain De Stancy--son of Sir William De Stancy. He's the husband.\nO, you needn't look incredulous: it is practicable; but we won't argue", "He now felt perfectly convinced that the inviting of Captain De Stancy\nto visit them at Nice was a second stage in the scheme of Paula's uncle,\nthe premature announcement of her marriage having been the first. The" ], [ "Somerset is here, and you have been doing wrong in his name, and it all\ncomes out, I'll try to save you, as far as an honest man can. If you", "Somerset found from his inquiries that the man had unquestionably been\ninstructed by somebody to take the views he spoke of; and concluded that", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "It happened that Somerset had been over this ground long ago. Born, so\nto speak, a High-Church infant, in his youth he had been of a thoughtful", "'Then it appears,' said Somerset, 'that he is a being of no age, no\nnationality, and no behaviour.'", "Here stood Somerset, who, having come down from the tower, was looking\non while a man searched for old foundations under the sod with a\ncrowbar. He was glad to see her at last, and noticed that she looked", "Somerset said he was afraid he could not give an opinion, and entered\nvery lamely into the subject; but Sir William seemed to find sufficient", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "'He is a young man: he has been to our house. Don't you remember you met\nhim there?'\n\n'What was his name?'\n\n'Mr. Somerset.'", "Somerset was a little surprised at the avowal: the minister's words on\nthe effects of her new environment recurred to his mind. 'Miss De Stancy\ndoesn't think so,' he said. 'She cares nothing about those things.'", "'You mean that I am an architect?' said Somerset. 'Yes.'", "'Somerset the architect. He suspects your having broken into his office\nor something of the sort.' De Stancy briefly related what Somerset had\nexplained to him at the dinner-table.", "architect's was at that time. Incurious unobservance is the true\nattitude of cordiality, and Somerset blamed himself for having fallen", "Somerset had noticed it, and thought he had never seen such a full-blown\none in the open air before. His eyes were, however, resting at the", "'I mean,' replied Somerset, 'that you represent the march of mind--the\nsteamship, and the railway, and the thoughts that shake mankind.'", "A latent power in the man, or boy, was revealed by the circumstance that\nSomerset did not feel, as he would ordinarily have done, that", "The vagueness there shown made Somerset peremptory, and he could not\nhelp replying somewhat more impetuously than usual:-- 'Why do you give", "Somerset asked if Miss Power wished to see him, and was informed that\nshe had only wished to know if he had come. Somerset sent a return\nmessage that he had a design on the board which he should soon be glad", "The person referred to was the misrepresented Somerset, whom the two had\nbeen gingerly discussing from time to time, allowing any casual subject,\nsuch as that of the storks, to interrupt the personal one at every two\nor three sentences.", "To include Somerset in the conversation the young man turned to him and\nadded: 'You carry on your work at the castle con amore, no doubt?'\n\n'There is work I should like better,' said Somerset." ], [ "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "his mind that Dare might have had something to do with them, or at least\nhave seen them. This possibility was enough to overmaster Somerset's", "It was now evident that the scheme of getting money from Paula was\neither of Dare's invention, or that Somerset, ashamed of his first", "Somerset looked at the youth, and said, 'I fear I shall have to dispense\nwith your services, Dare, for I think you have been tempted to-day.'", "Somerset said he was afraid he could not give an opinion, and entered\nvery lamely into the subject; but Sir William seemed to find sufficient", "a perception that Somerset, with a little more knowledge, would hold a\ncard which could be played with disastrous effect against himself--his\nrelationship to Dare. Its disclosure to a lady of such Puritan", "Somerset was silent. Dare continued: 'Now I have done you a favour, will\nyou do me one in return?'\n\nSomerset looked towards the gaming-rooms, and said dubiously, 'Well?'", "Dare uncovered the drawings, and young Somerset's brain-work for the\nlast six weeks lay under their eyes. To Dare, who was too cursory", "'Hang sentiment, Dare, and off with you!' A little ruffled, Somerset had\nturned his back upon the interesting speaker, so that he did not observe", "Somerset nodded to Dare to withdraw into an adjoining room, and offered\nher a chair.\n\n'You wish to show me the design you have prepared?' she asked, without\ntaking the seat.", "and were accessible by anybody. Dare took occasion to go and study both\nsets, with a view to finding a flaw in Somerset's which might have been", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "Dare, however, had gone on, and knowing the tortuous passages from his\nfew days' experience in measuring them with Somerset, he came to the", "Dare meanwhile had moved on without seeing his former employer, and\nSomerset resolved to take the chance that offered, and let him go. There\nwas something so mysterious in their common presence simultaneously", "Somerset found from his inquiries that the man had unquestionably been\ninstructed by somebody to take the views he spoke of; and concluded that", "vision of Dare's position which agitated the unhappy captain: for had\nthat young man, as De Stancy feared, been tampering with Somerset's", "Somerset is here, and you have been doing wrong in his name, and it all\ncomes out, I'll try to save you, as far as an honest man can. If you", "prototypes. Some were wilfully false, no doubt; many more so by\nunavoidable accident and want of skill. Somerset felt that it required a", "parted. A possible motive for Dare's presence in the rooms had instantly\npresented itself to Somerset's mind, for he had seen Dare enter Havill's", "'A young man who has been acting as his clerk. His name is Dare. He\ninformed me that Mr. Somerset could not keep the appointment.'\n\n'Why?'" ], [ "It was now evident that the scheme of getting money from Paula was\neither of Dare's invention, or that Somerset, ashamed of his first", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "Paula was silent. 'Do you know where this young man Dare is at the\npresent moment?' she asked quickly.\n\nDe Stancy said that Dare was staying at the same hotel with themselves,\nand that he believed he was downstairs.", "Dare went out through the back office as Paula was shown in at the\nfront. She wore a grey travelling costume, and seemed to be in some\nhaste.", "momentary impulse to thank Dare for the information given as to Paula's\nwhereabouts, information which had now proved true. But Dare did not", "That morning the post-bag had been brought to Paula and Mrs. Goodman\nin the usual way, and Miss Power read the letter. His resignation was a", "life could ever close. Before leaving the telegraph-office Dare had\ndespatched the following message to Paula direct, as a set-off against\nwhat he called Somerset's ingratitude for valuable information, though", "He told Paula of Havill's misfortunes in the presence of his sister,\nwho turned pale. She discerned how this misfortune would bear upon the\nundecided competition.", "'I have been feeling that I ought to tell you clearly, dear Paula,'\ndeclared her friend. 'It is absolutely false about his telegraphing to", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "there. On receiving a reply in the negative, Paula nearly betrayed\nherself by turning, as if her business there, too, ended with the\ninformation. However, she went on again, and made a pretence of looking", "a telegram to Paula for money from Nice. Not once till within the last\nhalf-hour had it recurred to his mind that he had met Dare both at Nice", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "He then opened the hamper which Dare had sent. Uncorking one of the\nbottles he murmured, 'To Paula!' and drank a glass of the ruby liquor.", "Dare should be ready. While he waited his sister looked out upon him\nfrom an upper casement, having caught sight of him as she came from\nPaula in the telegraph-room.", "Paula also looked round. The door had been left ajar, and De Stancy was\nstanding in the room. The last words of Mrs. Goodman, and Paula's reply,", "'My dearest life!' Paula's eyes rounding somewhat, he corrected the\nexclamation. 'My dear Miss Power, I will, without reserve, tell it to\nyou all over again.'", "'For shame, Paula! Now I know what it is; you have heard that he's gone\nthere! You needn't try to blind me.'", "Havill, in the meantime, having respectfully withdrawn from the presence\nof Paula, passed by Dare and De Stancy in the gallery as he had done" ], [ "A moment after he had gone, Paula, impelled by something or other,\ncrossed the room to the window. In a short time she saw his form in the", "Soon after this, they left the jeweller's, and parted, Paula driving\nstraight off to the station and Somerset going on his way uncertainly", "Somerset hastened after the carriage, and in a minute saw it stop\nopposite a jeweller's shop. Out came Paula, and then another woman, in", "'Those people have come to see me, as they have a right to do when\na person acts so strangely,' Paula continued. 'And hence I am better\naway.'\n\n'Where do you think to go to?'", "Paula, who had been talking to her uncle during this interlude, started\nround, and wondering what had happened, inquiringly crossed the room", "His interest in Paula was of so emotional a cast that his attention\nto his own errand was of the most perfunctory kind. She was close to", "with a young lady of uncertain nationality but pleasing figure. Paula\nwas not accustomed to show the white feather too clearly, but she soon\nhad passed out through those yellow gates and retreated, till the mixed", "When he had gone, Paula's bearing showed some sign of being disquieted\nat what she had done; but she covered her mood under a cloak of saucy", "'Paula--Paula! Where in the world are you?' was heard resounding along\nthe corridor in the voice of her aunt. 'Our friends are all ready to\nleave, and you will surely bid them good-night!'", "there. On receiving a reply in the negative, Paula nearly betrayed\nherself by turning, as if her business there, too, ended with the\ninformation. However, she went on again, and made a pretence of looking", "This business being finished, Paula left the chamber and descended into\nthe inclosure called the Pleasance, a spot grassed down like a lawn.", "'He's dead!' cried Paula, sinking into a chair and turning as pale as\nmarble. 'Is he dead?--tell me!' she whispered.", "Paula replied that she was not alone, and went to the door. There\nwas one moment during which Somerset might have conveniently made his", "When he had left them, Paula informed her aunt whose company they had\nbeen sharing. Her aunt began expostulating with Paula for not telling", "to Paula's feet. She smiled at them, and endeavoured to return it by a\nslight kick. The ball rose in the air, and passing over the back of", "Paula, panting, broke the silence: 'Will you go on, and discover if the\ntop is near?'", "She moved forward towards the gate at the further end of the square,\nbeyond which the cathedral lay at a very short distance. Paula did not", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "It was now time for Somerset to be genuinely grieved at what he had\ndone. Paula seemed so good and honourable at that moment that he could\nhave laid down his life for her.", "Off went the message, and Paula retired into the next room, leaving the\ndoor open between that and the one she had just quitted. Here she" ], [ "His serenity continued during two or three following days, when,\ncontinuing at the castle, he got pleasant glimpses of Paula now and", "the occasion on which the party represented by Paula battered down the\ncastle walls that she was now about to mend, and, as he hoped, return in\ntheir original intact shape to the family dispossessed, by marriage with", "well. Indeed, during the solitary hour or two of his waiting here he had\npictured Paula straying alone on the terrace of the castle, looking", "A note was despatched to Havill that very day, and in an hour the\ncrestfallen architect presented himself at the castle. Paula instantly", "followed the direction, and he saw above the many-hued foliage in the\nmiddle distance the towering keep of Paula's castle.", "Mrs. Camperton. But as the day for serious practical consultation about\nthe castle works, to which Paula had playfully alluded, was now close at", "The population of the castle had increased in his absence. There were\nassembled Paula and her friend Charlotte; a bearded man some years older", "a fly was got ready in a few minutes. With lapse of time Paula evinced\nmore anxiety as to the fate of her castle, and when they had driven as", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "Paula had risen from her seat and joined him in the window, where she\nheard some people in the street saying that the servants were all safe;\nafter which she gave her mind more fully to the material aspects of the\ncatastrophe.", "This business being finished, Paula left the chamber and descended into\nthe inclosure called the Pleasance, a spot grassed down like a lawn.", "Somerset began reflecting on what messages he had sent Paula, troublous\nor otherwise. All he had sent had been sent from the castle, and were", "'He has borrowed on the expectation of having to execute the castle\nworks, and now he is unable to meet his liabilities.'\n\n'It is very sad,' said Paula.", "The fire glanced up on Paula, and Paula glanced down at the fire, and at\nthe gnarled beech fuel, and at the wood-lice which ran out from beneath", "The cheering message from Paula to Somerset sped through the loophole\nof Stancy Castle keep, over the trees, along the railway, under bridges,", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "Paula sat on with the sleeping Charlotte. Presently she retired into the\nadjacent sitting-room with a book, and flung herself on a couch, leaving", "Castle: particularly did he dwell at this time upon Paula's lively\ninterest in the history, relics, tombs, architecture,--nay, the very", "When he had gone, Paula's bearing showed some sign of being disquieted\nat what she had done; but she covered her mood under a cloak of saucy", "When the message was fairly gone out of the window Paula seemed still\nfurther to expand. The strange spell cast over her by something or" ], [ "GUTENBERG EBOOK A LAODICEAN ***\n\n\n\n\nProduced by Les Bowler", "A LAODICEAN: A STORY OF TO-DAY\n\n\nBy Thomas Hardy\n\n\nCONTENTS.", "I tell you that she has never in her secret heart forgiven that sermon\nof mine, in which I likened her to the church at Laodicea. I admit", "years have less pleasure in them now than heretofore, so \"A Laodicean\"\nmay perhaps help to while away an idle afternoon of the comfortable ones", "End of the Project Gutenberg EBook of A Laodicean, by Thomas Hardy", "'In the third chapter of Revelation and the fifteenth and following\nverses, you will find these words:--", "a Neo-Greek, and a person of red blood; while Captain De Stancy is the\nreverse of them all!'", "those terms. 'It is GREEK pottery she means--Hellenic pottery she tells\nme to call it, only I forget. There is beautiful clay at the place,", "'May I call you Paula?' asked he.\n\nThere was no answer.\n\n'May I?' he repeated.\n\n'Yes, occasionally,' she murmured.", "'You are carrying in a great deal of water,' he said, as each dipped his\npitcher.", "of such a man. Outside the latter church was a public flower-garden, and\nshe sat down to consider beside a round pool in which water-lilies grew", "almost banished from the countenance, stood reading a chapter. Between\nthe minister and the congregation was an open space, and in the floor of\nthis was sunk a tank full of water, which just made its surface visible", "His father didn't know. He had never looked at the play of late years.\nIt was 'Love's Labour's Lost.' 'You had better read it for yourself,' he\nsaid, 'and do the best you can.'", "forthcoming events. In glancing over these for the fifth time, his eye\nwas attracted by the first words of a placard in blue letters, of a size", "His neighbour happened to be the landlord at Sleeping-Green, and he\ninformed the stranger that she was what he supposed.\n\n'And who is that gentleman whose line of business seems to be to make\nlove to Power?'", "loose ones around him, awaited succour as best he could. To begin this\ncourse of procedure was easy, but to abide in patience till it should", "De Stancy jumped up from his chair, and went forward to the new-comer.\n'You are not long behind us, then,' he said, with laconic disquietude.\n'I thought you were going straight home?'", "'It looks as if it came off a lady's dress,' he said idly.\n\n'Off a lady's fan,' she replied.\n\n'O, off a fan?'", "of a smelter, and the clothes of an inhabitant of Guiana. The stranger,\nwhom we have already seen sitting at the back of the theatre the night", "women. The other half were at best humorous, and mainly satirical; these\ncame from the men. It was a profanation without parallel, and his face\nblazed like a coal." ], [ "marry his successor in the title. George Somerset had started on a\nprofessional journey that took him through the charming district which\nlay around Stancy Castle. Having resigned his appointment as architect", "'Now, George--you see I say George, and not Mr. Somerset, and you may\ndraw your own inference--don't be so morbid in your reproaches! I have", "got to like George Somerset as desperately as a woman can care for any\nman. I thought I should have died when I saw him dancing, and feared", "Somerset told the news. His father duly congratulated him, and added\ngenially, 'It is well to be you, George. One large commission to attend", "To return for a while to George Somerset. The sun of his later existence\nhaving vanished from that young man's horizon, he confined himself", "'He is a young man: he has been to our house. Don't you remember you met\nhim there?'\n\n'What was his name?'\n\n'Mr. Somerset.'", "'O, George Somerset--be cold, or angry, or anything, but don't be\nlike this! It is never worth a woman's while to show regret for her", "'Mr. Somerset.'\n\nMiss De Stancy had schooled her emotions on that side cruelly well, and\nshe asked calmly, 'What, have you chosen him after all?'", "Her exclamation had its origin in what she had at that moment seen\nwithin, the spectacle of Mr. George Somerset whirling round the room", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "'Somerset the architect. He suspects your having broken into his office\nor something of the sort.' De Stancy briefly related what Somerset had\nexplained to him at the dinner-table.", "Somerset so frigidly, and relief that it was Paula who did so. For,\nnotwithstanding her assumption that Somerset could never be anything\nmore to her than he was already, Charlotte's heart would occasionally", "'MY DEAR MR. SOMERSET' (the 'George,' then, to which she had so kindly\ntreated him in her last conversation, was not to be continued in black\nand white),--", "Somerset at once perceived that he had been to blame in not thinking of\nthis.\n\n'Please do forgive my thoughtlessness in not reflecting how it would\nstrike you!' he pleaded. 'I--I see I have alarmed you.'", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "'Now, don't fume so, George Somerset, but hear me. My not owning all\nmay not have the dreadful meaning you think, and therefore it may not", "Somerset was silent. Dare continued: 'Now I have done you a favour, will\nyou do me one in return?'\n\nSomerset looked towards the gaming-rooms, and said dubiously, 'Well?'", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "Mr. Somerset's. I find that this envelope is not the right one.' He\nostensibly searched his pocket again. 'I must have mislaid it,' he", "that George Somerset, son of the Academician of that name, was a man\nof independent tastes and excursive instincts, who unconsciously, and\nperhaps unhappily, took greater pleasure in floating in lonely currents" ], [ "and liberality of payment, a possible lord of Burleigh, came forward and\nsaid it was certainly not a woman, but whether man or boy she could not\nsay. 'His name is Mr. Dare,' she added.", "They went to bed again. Dare was soon asleep; but Havill did not attempt\nto disturb him again. The elder man slept but fitfully. He was aroused", "Dare guessed, for he had seen a little way into Havill's soul during the\nbrief period of their confederacy. But he was very far from saying what", "'Mr. Dare, we are anxious to know something of Miss Power's architect;\nand Captain De Stancy tells us you have seen him lately,' said Mr. Power\nsonorously over the edge of his newspaper.", "There was a silence; whereupon Dare arose without hesitation, and walked\nboldly into the private office. Havill was standing at one end, as", "of Dare: 'O, good Lord, Dare, Dare, I have done nothing!'", "Dare went to the garden-chair on which Havill had been seated, and found\nthe article left behind to be a pocket-book. Whether because it was", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "to England.' Power looked contemptuous, but Dare went on: 'I dreamt\nthat once upon a time there were two brothers, born of a Nonconformist", "Dare raised his eyes as he concluded his narration. As has been\nremarked, he was sitting at one end of the vestry-table, Power at the", "Dare was breathing profoundly. Instigated as above mentioned, Havill\ngot out of bed and stood beside the sleeper. After a moment's pause he", "Dare felt secure of him at those words. Havill had much at stake; the\nslightest rumour of his trick in bringing about the competition, would\nbe fatal to Havill's reputation.", "'Mr. Havill, the architect, I believe?' said Dare. 'The author of most\nof the noteworthy buildings in this neighbourhood?'\n\nHavill assented blandly.", "'Yes, sir. O it's Mr. Dare. We don't see you at the castle now, sir.'\n\n'No. And do you get a walk like this every evening when the others are\nat their busiest?'", "'Don't pretend to give advice, Willy, on matters beyond your years.'\n\n'I only meant it for your good, and your proper advancement in the\nworld,' said Dare in wounded tones.", "'Yes, indeed,' said Dare, turning the key in the door. 'It would look\nstrange if he were to find us here.'\n\nAs the old man seemed indisposed to leave the churchyard just yet they\nsat down again.", "Mr. Power, looking up from the paper he was reading, assented to her\nproposition. Dare appeared in the doorway, and the waiter retired. Dare", "'It is Dare--that young man you see out there against the sky.' She\nlooked from the window sideways towards the new wing, on the roof of", "'There is no rest for me here,' he said, rising and going to the window,\ncarefully avoiding the neighbourhood of Mr. Dare. When Havill had\nglanced out he returned to dress himself.", "'Well, where were you born--somewhere, I suppose?'\n\n'It would be a fact worth the telling. The secret of my birth lies\nhere.' And Dare slapped his breast with his right hand." ], [ "It was now evident that the scheme of getting money from Paula was\neither of Dare's invention, or that Somerset, ashamed of his first", "Paula was silent. 'Do you know where this young man Dare is at the\npresent moment?' she asked quickly.\n\nDe Stancy said that Dare was staying at the same hotel with themselves,\nand that he believed he was downstairs.", "The sight of Paula in her graceful performance, which the judicious\nDare had so carefully planned, led up to and heightened by subtle\naccessories, operated on De Stancy's surprised soul with a promptness\nalmost magical.", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "Dare felt secure of him at those words. Havill had much at stake; the\nslightest rumour of his trick in bringing about the competition, would\nbe fatal to Havill's reputation.", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "Havill, in the meantime, having respectfully withdrawn from the presence\nof Paula, passed by Dare and De Stancy in the gallery as he had done", "together. By constant urging and coaxing the latter would induce his\ngentle sister, much against her conscience, to leave him opportunities\nfor speaking to Paula alone. It was mostly before some print or painting", "They went to bed again. Dare was soon asleep; but Havill did not attempt\nto disturb him again. The elder man slept but fitfully. He was aroused", "'Mr. Dare, we are anxious to know something of Miss Power's architect;\nand Captain De Stancy tells us you have seen him lately,' said Mr. Power\nsonorously over the edge of his newspaper.", "'My dearest Paula,' repeated De Stancy faintly, his complexion changing\nto that of a man who had died.", "'I have not, sir, I am sorry to say,' replied Dare respectfully.\n\n'You could get some, I suppose?' asked Paula of the interesting young\nphotographer.", "Dare went out through the back office as Paula was shown in at the\nfront. She wore a grey travelling costume, and seemed to be in some\nhaste.", "Mr. Havill had lapsed into a mannerly silence that was only sullenness\ndisguised. Paula turned her conversation to Miss De Stancy, who had", "'My dearest life!' Paula's eyes rounding somewhat, he corrected the\nexclamation. 'My dear Miss Power, I will, without reserve, tell it to\nyou all over again.'", "Paula sighed deeply; and said, 'Yes.'\n\n'Your hand upon it.'\n\nShe gave him her hand: he held it a few moments, then raised it to his\nlips, and was gone.", "'My darling; my Paula!' he said, seizing her hand. 'Do promise me\nsomething. You must indeed!'", "He then opened the hamper which Dare had sent. Uncorking one of the\nbottles he murmured, 'To Paula!' and drank a glass of the ruby liquor.", "'I have been feeling that I ought to tell you clearly, dear Paula,'\ndeclared her friend. 'It is absolutely false about his telegraphing to" ], [ "It was now evident that the scheme of getting money from Paula was\neither of Dare's invention, or that Somerset, ashamed of his first", "Paula was silent. 'Do you know where this young man Dare is at the\npresent moment?' she asked quickly.\n\nDe Stancy said that Dare was staying at the same hotel with themselves,\nand that he believed he was downstairs.", "Dare went out through the back office as Paula was shown in at the\nfront. She wore a grey travelling costume, and seemed to be in some\nhaste.", "He told Paula of Havill's misfortunes in the presence of his sister,\nwho turned pale. She discerned how this misfortune would bear upon the\nundecided competition.", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "momentary impulse to thank Dare for the information given as to Paula's\nwhereabouts, information which had now proved true. But Dare did not", "'I have been feeling that I ought to tell you clearly, dear Paula,'\ndeclared her friend. 'It is absolutely false about his telegraphing to", "'My dearest life!' Paula's eyes rounding somewhat, he corrected the\nexclamation. 'My dear Miss Power, I will, without reserve, tell it to\nyou all over again.'", "That morning the post-bag had been brought to Paula and Mrs. Goodman\nin the usual way, and Miss Power read the letter. His resignation was a", "there. On receiving a reply in the negative, Paula nearly betrayed\nherself by turning, as if her business there, too, ended with the\ninformation. However, she went on again, and made a pretence of looking", "But Paula would not be told at any time. A dreadful sorrow sat in her\nface; she insisted upon learning everything about the matter there and\nthen, and there was no withstanding her.", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "'She must not be told yet,' said Paula.... 'Sir William dead!'", "life could ever close. Before leaving the telegraph-office Dare had\ndespatched the following message to Paula direct, as a set-off against\nwhat he called Somerset's ingratitude for valuable information, though", "'I have not, sir, I am sorry to say,' replied Dare respectfully.\n\n'You could get some, I suppose?' asked Paula of the interesting young\nphotographer.", "Paula also looked round. The door had been left ajar, and De Stancy was\nstanding in the room. The last words of Mrs. Goodman, and Paula's reply,", "When De Stancy entered, Paula's thoughts seemed to revert to Dare, for\nalmost at once she asked him in what direction the youth was travelling.", "Paula sighed deeply; and said, 'Yes.'\n\n'Your hand upon it.'\n\nShe gave him her hand: he held it a few moments, then raised it to his\nlips, and was gone.", "He then opened the hamper which Dare had sent. Uncorking one of the\nbottles he murmured, 'To Paula!' and drank a glass of the ruby liquor." ], [ "marry his successor in the title. George Somerset had started on a\nprofessional journey that took him through the charming district which\nlay around Stancy Castle. Having resigned his appointment as architect", "To return for a while to George Somerset. The sun of his later existence\nhaving vanished from that young man's horizon, he confined himself", "It happened that Somerset had been over this ground long ago. Born, so\nto speak, a High-Church infant, in his youth he had been of a thoughtful", "'Now, George--you see I say George, and not Mr. Somerset, and you may\ndraw your own inference--don't be so morbid in your reproaches! I have", "Somerset told the news. His father duly congratulated him, and added\ngenially, 'It is well to be you, George. One large commission to attend", "The elder Mr. Somerset lived in a detached house in the north-west part\nof fashionable London; and ascending the chief staircase the young", "'He is a young man: he has been to our house. Don't you remember you met\nhim there?'\n\n'What was his name?'\n\n'Mr. Somerset.'", "got to like George Somerset as desperately as a woman can care for any\nman. I thought I should have died when I saw him dancing, and feared", "'Somerset the architect. He suspects your having broken into his office\nor something of the sort.' De Stancy briefly related what Somerset had\nexplained to him at the dinner-table.", "Somerset found from his inquiries that the man had unquestionably been\ninstructed by somebody to take the views he spoke of; and concluded that", "Her exclamation had its origin in what she had at that moment seen\nwithin, the spectacle of Mr. George Somerset whirling round the room", "that George Somerset, son of the Academician of that name, was a man\nof independent tastes and excursive instincts, who unconsciously, and\nperhaps unhappily, took greater pleasure in floating in lonely currents", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "'O, George Somerset--be cold, or angry, or anything, but don't be\nlike this! It is never worth a woman's while to show regret for her", "'But it is not the least concern of mine where you stayed, is it?' she\nsaid, with a cold yet disquieted look.\n\n'Do you speak seriously?' Somerset brokenly whispered.", "Somerset was a little surprised at the avowal: the minister's words on\nthe effects of her new environment recurred to his mind. 'Miss De Stancy\ndoesn't think so,' he said. 'She cares nothing about those things.'", "'Now, don't fume so, George Somerset, but hear me. My not owning all\nmay not have the dreadful meaning you think, and therefore it may not", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "'Ah, no!' deplored the proprietress. 'The Hotel was full when Mr.\nSomerset came. He stays at a cottage beyond the Rue Anicet Bourgeois: he\nonly has his meals here.'", "from the identical compartment occupied by De Stancy. She made an\ninquiry about getting to Stancy Castle, upon which Somerset, who had not\ntill now observed her, went forward, and introducing himself assisted" ], [ "To return for a while to George Somerset. The sun of his later existence\nhaving vanished from that young man's horizon, he confined himself", "marry his successor in the title. George Somerset had started on a\nprofessional journey that took him through the charming district which\nlay around Stancy Castle. Having resigned his appointment as architect", "got to like George Somerset as desperately as a woman can care for any\nman. I thought I should have died when I saw him dancing, and feared", "He was returning to England by way of Marseilles; but before turning\nnorthwards he had engaged to perform on Miss Power's account a peculiar\nand somewhat disagreeable duty. This was to place in Somerset's hands a", "Somerset told the news. His father duly congratulated him, and added\ngenially, 'It is well to be you, George. One large commission to attend", "Somerset recognized Paula's uncle in the portrait.\n\nHostilities, then, were beginning. The paragraph had been meant as the\nfirst slap. Taking her abroad was the second.", "It was just what Somerset had done. De Stancy was told that Mr. Somerset\nhad commanded that any letters should be sent on to him at the Hotel\nVictoria, San Remo.", "It was quite late in the afternoon when Somerset took his leave. Miss\nDe Stancy did not return to the castle that night, and he walked through", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "She went out upon the terrace; and without exactly knowing why, Somerset\nfollowed.\n\n'Your friend--'", "To include Somerset in the conversation the young man turned to him and\nadded: 'You carry on your work at the castle con amore, no doubt?'\n\n'There is work I should like better,' said Somerset.", "the Hotel-Dieu to the choir, to do which they must go outside. Thereupon\nthey walked on together, and Mr. Somerset, quite ignoring his troubles,", "should declare it not to correspond with the face that met his eye at\nthe window. Soon after, Somerset took his leave of the household.", "beginning, with exhaustive detail. Somerset evaded this with alacrity,\nand once having won his companion to other subjects he found that the", "Dare meanwhile had moved on without seeing his former employer, and\nSomerset resolved to take the chance that offered, and let him go. There\nwas something so mysterious in their common presence simultaneously", "With this view of having to spend a considerable time in the\nneighbourhood Somerset shifted his quarters that afternoon from the", "It happened that Somerset had been over this ground long ago. Born, so\nto speak, a High-Church infant, in his youth he had been of a thoughtful", "turned away, and continued his previous conversation with Captain\nDe Stancy. From this time till the group parted he never again spoke\ndirectly to Somerset, paying him barely so much attention as he might", "Somerset's first and sudden resolve was to follow on after them to the\nhotel named; but he finally decided to make his immediate visit to Monte\nCarlo only a cautious reconnoitre, returning to Nice to sleep.", "Without knowing it, Somerset was drawing near to a crisis in this soft\ncorrespondence which would speedily put his assertions to the test; but\nthe knowledge came upon him soon enough for his peace." ], [ "'Poor man,' murmured Paula. 'He was my father's architect, and somehow\nexpected, though I did not promise it, the work of rebuilding the\ncastle.'", "followed the direction, and he saw above the many-hued foliage in the\nmiddle distance the towering keep of Paula's castle.", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "A note was despatched to Havill that very day, and in an hour the\ncrestfallen architect presented himself at the castle. Paula instantly", "The population of the castle had increased in his absence. There were\nassembled Paula and her friend Charlotte; a bearded man some years older", "Somerset still remained where he had placed himself, mentally balancing\nscience against art, the grandeur of this fine piece of construction\nagainst that of the castle, and thinking whether Paula's father had", "well. Indeed, during the solitary hour or two of his waiting here he had\npictured Paula straying alone on the terrace of the castle, looking", "His serenity continued during two or three following days, when,\ncontinuing at the castle, he got pleasant glimpses of Paula now and", "the occasion on which the party represented by Paula battered down the\ncastle walls that she was now about to mend, and, as he hoped, return in\ntheir original intact shape to the family dispossessed, by marriage with", "'In you, for purchasing it,' said Paula with haughty quickness from the\nother side of the room. 'Though probably his friends, if he has any,\nwould say not in him.'", "'He has borrowed on the expectation of having to execute the castle\nworks, and now he is unable to meet his liabilities.'\n\n'It is very sad,' said Paula.", "Castle: particularly did he dwell at this time upon Paula's lively\ninterest in the history, relics, tombs, architecture,--nay, the very", "castle. The paper was two days old, but to his unutterable amazement he\nread therein a paragraph which ran as follows:--", "'The lady's name is Miss Paula Power, who, as you may have heard since\nyour arrival, is in absolute possession of her father's property and", "Somerset began reflecting on what messages he had sent Paula, troublous\nor otherwise. All he had sent had been sent from the castle, and were", "'Those originally belonged to the castle yonder,' said Miss De Stancy,\nor Charlotte, as her father called her, noticing Somerset's glance at", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "At his suggestion Paula had agreed to have the works executed as\nsuch operations were carried out in old times, before the advent of\ncontractors. Each trade required in the building was to be represented", "a fly was got ready in a few minutes. With lapse of time Paula evinced\nmore anxiety as to the fate of her castle, and when they had driven as", "Miss De Stancy faltered a welcome as weak as that of the Maid of\nNeidpath, and Paula said coldly, 'We are rather surprised to see you.\nPerhaps there is something urgent at the castle which makes it necessary\nfor you to call?'" ], [ "Paula sighed--just a little one; and yet the suggestion seemed to\nsatisfy her by its reasonableness. She turned sad, wayward, but was", "Human nature at bottom is romantic rather than ascetic, and the local\nhabitation which accident had provided for Paula was perhaps acting as\na solvent of the hard, morbidly introspective views thrust upon her in", "Charlotte had so little personality in Paula's regard that she could\ncommune with her as with a lay figure, it was certain that she evinced", "'I know the place, and I agree with you,' said Paula.\n\n'You agree with me on all subjects but one,' he presently observed, in a\nvoice not intended to reach the others.", "'She is like Charlotte,' said Paula. And what was much like another sigh\nescaped her lips.", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "the piece compromised her dignity by showing her love for the King; and\nthat the latter never addressed her in words in which passion got the\nbetter of courtesy. Moreover, as Paula had herself observed, they did", "his life than as matrimonial strategy. Paula's juxtaposition had the\nattribute of making him forget everything in his own history. She was a", "Paula asked her a second time what had made her exclaim like that. Miss\nDe Stancy still seemed confused, whereupon Paula noticed that her eyes\nwere continually drawn as if by fascination towards the photograph on", "though unconsciously represented as one whose interests lay wholly\noutside this antiquated neighbourhood, that to Paula he had been a mere\nnebulosity whom she had never distinctly outlined. To have him thus", "There was such stress in the inquiry that, whatever factitiousness had\ngone before, Charlotte perceived Paula to be at last speaking her mind;", "His interest in Paula was of so emotional a cast that his attention\nto his own errand was of the most perfunctory kind. She was close to", "of attire. Paula, whom a restless night had left with a headache,\nwhich, however, she said nothing about, was reluctant to emerge from the", "The pointed implication that she could attend to inquiries about nothing\nelse, breathed of the veritable Paula so distinctly that he could\nforgive its sauciness. His reply was soon despatched:--", "'It is not anywhere but in Paula's brain; she has laid it out from her\nown design. The site is supposed to be near our railway station, just", "Charlotte found that by telling Mrs. Goodman she had simply made two\nirresolute people out of one, and as Paula was now inquiring for her,\nshe went upstairs without having come to any decision.", "'It contains Paula.'\n\nDe Stancy's pulse, which had been beating languidly for many years, beat\ndouble at the sound of that name.", "Paula preserved an entire silence as to her own intentions, partly from\nnatural reticence, and partly, as it appeared, from the difficulty of", "He seemed to speak with such a courteous absence of regret for the\nalienation, that Paula, who was always fearing that the recollection", "Paula now turned to him: hitherto her remarks had been sparingly spoken,\nher eyes being directed elsewhere: 'Yes, that is very strange, is it" ], [ "world yet, and Captain De Stancy is too near middle-age for a girl like\nyou.' Paula did not reply to either of these remarks, being seemingly so", "'Then the captain is now Sir William De Stancy!' she exclaimed. 'Really,\nPaula, since you would be Lady De Stancy by marrying him, I almost\nthink--'\n\n'Hush, aunt!'", "'O, Captain De Stancy, this is provoking perseverance!' cried Paula,\nlaughing half crossly. 'I expected that after expressing my decision", "'Captain De Stancy, it is not like that, I assure you,' sympathized\nPaula with damp eyelashes. 'I love Charlotte too dearly for you to talk", "Captain De Stancy knew himself conquered: he knew he should yield to\nPaula--had indeed yielded; but there was now, in his solitude, an hour", "guessed, in Captain De Stancy's journey in the same direction, whom\nhe had followed, and troubled with persistent request for more funds,\ncarefully keeping out of sight of Paula and the rest. His dream of", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "'You know the house, doubtless, Captain De Stancy?' said Paula, somewhat\nshyly, when he had been presented to her.", "'My dearest Paula,' repeated De Stancy faintly, his complexion changing\nto that of a man who had died.", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "'Not absolutely; though I think Captain De Stancy will not refuse it;\nand he is a very good figure. At present it lies between him and Mr.", "'It contains Paula.'\n\nDe Stancy's pulse, which had been beating languidly for many years, beat\ndouble at the sound of that name.", "to be those of De Stancy. He turned his head, jumped up, and was at her\nside in an instant, a nettled flush having meanwhile crossed Paula's\nface.", "The sight of Paula in her graceful performance, which the judicious\nDare had so carefully planned, led up to and heightened by subtle\naccessories, operated on De Stancy's surprised soul with a promptness\nalmost magical.", "'Captain De Stancy, I have long felt for you,' she continued, with a\nfrank glance into his face. 'You have deprived yourself too long of", "a Neo-Greek, and a person of red blood; while Captain De Stancy is the\nreverse of them all!'", "'Captain De Stancy!' she said, trembling and turning away. 'Captain De\nStancy!' She tried to withdraw her fingers, then faced him, exclaiming", "'I sometimes think she will take to her as husband the present\nrepresentative of that impoverished line--Captain De Stancy--which she\nmay easily do, if she chooses, as his behaviour to-day showed.'", "'Captain De Stancy--son of Sir William De Stancy. He's the husband.\nO, you needn't look incredulous: it is practicable; but we won't argue", "He now felt perfectly convinced that the inviting of Captain De Stancy\nto visit them at Nice was a second stage in the scheme of Paula's uncle,\nthe premature announcement of her marriage having been the first. The" ], [ "castle. The paper was two days old, but to his unutterable amazement he\nread therein a paragraph which ran as follows:--", "'Those originally belonged to the castle yonder,' said Miss De Stancy,\nor Charlotte, as her father called her, noticing Somerset's glance at", "He spent some following hours in a close study of the castle history,\nwhich till now had unutterably bored him. More particularly did he", "'The place of husband to Miss Power, and proprietor of that castle and\ndomain.'\n\n'That's a scheme with a vengeance. Who is the man?'\n\n'It is my secret at present.'", "'I have heard of it.' Turning to where the dim lines of the castle rose\nhe continued: 'Well, there it stands.'\n\n'And I am not in it.'", "it when he was quite a young man, years before I was born, and not long\nafter his father's death. It was purchased by a man named Wilkins, a", "line wooed the lady fruitlessly; how, after her marriage with another,\nshe and her husband visited the parents of the disappointed lover, the\nthen occupiers of the castle; how, in a fit of desperation at the", "The two women then wished him good-morning and went away. Somerset,\nfeeling that he had now every reason for prowling about the castle,", "Having previously arranged to pass a quiet evening in his rooms at the\nLord Quantock Arms, in reading up chronicles of the castle from", "Here he read that 'when this picturesque and ancient structure was\nfounded, or by whom, is extremely uncertain. But that a castle stood on", "About this time Captain De Stancy and his Achates were approaching the\ncastle, and had arrived about fifty paces from the spot at which it", "But the captain had, and when Havill entered the castle he rejoiced with\ngreat joy. Dare, too, rejoiced in his cold way, and went on with his\nphotography, saying, 'The game progresses, captain.'", "prepared for him at the castle. He heard feet brushing the grass behind\nhim, and, looking round, saw the Baptist minister.", "useless silver mine; so 'twas no wonder that the castle named after him\nvell into other hands.... The way it was done was curious. Mr. Wilkins,", "This, and a few glances round at the pictures and curiosities, completed\ntheir survey of the castle. De Stancy knew better than to trouble her", "He spent the remainder of the day in making a little sketch to show what\nhad been done in the castle since her departure. This he despatched with\na letter of explanation ending in a paragraph of a different tenor:--", "than it sounded. Notwithstanding the roominess of her castle, she was at\npresent living somewhat incommodiously, owing partly to the stagnation", "Before he left the castle, however, they had returned, a circumstance\nunexpectedly made known to him by his receiving a message from", "'That what?'\n\n'That railway. He was Mr. John Power, the great railway contractor. And\nit was through making the railway that he discovered this castle--the\nrailway was diverted a little on its account.'", "estates, including Stancy Castle. As soon as I heard of her I saw what\na marvellous match it would be for you, and your family; it would make" ], [ "marry his successor in the title. George Somerset had started on a\nprofessional journey that took him through the charming district which\nlay around Stancy Castle. Having resigned his appointment as architect", "'Now, George--you see I say George, and not Mr. Somerset, and you may\ndraw your own inference--don't be so morbid in your reproaches! I have", "To return for a while to George Somerset. The sun of his later existence\nhaving vanished from that young man's horizon, he confined himself", "Somerset told the news. His father duly congratulated him, and added\ngenially, 'It is well to be you, George. One large commission to attend", "The elder Mr. Somerset lived in a detached house in the north-west part\nof fashionable London; and ascending the chief staircase the young", "It happened that Somerset had been over this ground long ago. Born, so\nto speak, a High-Church infant, in his youth he had been of a thoughtful", "got to like George Somerset as desperately as a woman can care for any\nman. I thought I should have died when I saw him dancing, and feared", "'He is a young man: he has been to our house. Don't you remember you met\nhim there?'\n\n'What was his name?'\n\n'Mr. Somerset.'", "that George Somerset, son of the Academician of that name, was a man\nof independent tastes and excursive instincts, who unconsciously, and\nperhaps unhappily, took greater pleasure in floating in lonely currents", "Her exclamation had its origin in what she had at that moment seen\nwithin, the spectacle of Mr. George Somerset whirling round the room", "Somerset explained that he had come only that morning from London.", "'Somerset the architect. He suspects your having broken into his office\nor something of the sort.' De Stancy briefly related what Somerset had\nexplained to him at the dinner-table.", "'O, George Somerset--be cold, or angry, or anything, but don't be\nlike this! It is never worth a woman's while to show regret for her", "Somerset, perhaps wisely, said nothing at this outburst; the cause of\nher vexation was, plainly enough, his perception of her discomposure. He", "Somerset found from his inquiries that the man had unquestionably been\ninstructed by somebody to take the views he spoke of; and concluded that", "Somerset was silent. Dare continued: 'Now I have done you a favour, will\nyou do me one in return?'\n\nSomerset looked towards the gaming-rooms, and said dubiously, 'Well?'", "Somerset was a little surprised at the avowal: the minister's words on\nthe effects of her new environment recurred to his mind. 'Miss De Stancy\ndoesn't think so,' he said. 'She cares nothing about those things.'", "'Now, don't fume so, George Somerset, but hear me. My not owning all\nmay not have the dreadful meaning you think, and therefore it may not", "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "'Ah, no!' deplored the proprietress. 'The Hotel was full when Mr.\nSomerset came. He stays at a cottage beyond the Rue Anicet Bourgeois: he\nonly has his meals here.'" ], [ "surrounding villages. Among the faces they recognized Mr. Woodwell,\nHavill the architect, the rector of the parish, the curate, and many", "But the captain had, and when Havill entered the castle he rejoiced with\ngreat joy. Dare, too, rejoiced in his cold way, and went on with his\nphotography, saying, 'The game progresses, captain.'", "'I have met my young photographer,' said De Stancy cheerily. 'What a\nsmall world it is, as everybody truly observes! I am wishing he could", "'I have just come from the village,' said Mr. Woodwell, who looked worn\nand weary, his boots being covered with dust; 'and I have learnt that\nwhich confirms my fears for her.'\n\n'For Miss Power?'", "that these conversations occurred, while De Stancy was ostensibly\noccupied with its merits, or in giving directions to his photographer\nhow to proceed. As soon as the dialogue began, the latter would withdraw", "The speaker entered to arrange his photographic apparatus, of which, in\ntruth, he was getting weary; and De Stancy smoked on the terrace till", "Returning to Markton early, she told the coachman whom Paula had sent,\nto drive her to the shop of Mr. Ray, an obscure photographic artist in\nthat town, instead of straight home.", "When the chief constable had left the house, Captain De Stancy shut\nthe door and drew out the original photograph. As he looked at the", "Havill clapped his hand to his pocket, examined the book Dare held out\nto him, and took it with thanks. 'I see I am speaking to the artist,\narchaeologist, Gothic photographer--Mr. Dare.'", "Her eyes were bent on the window. Looking out, Somerset saw in the mead\nbeyond the dry ditch, Dare, with his photographic apparatus.", "'O yes--I remember; it is quite right. He met me in the village and\nasked me to suggest him some views. I thought him a respectable young\nfellow.'\n\n'I think he is a Canadian,' said Somerset.", "Paula asked her a second time what had made her exclaim like that. Miss\nDe Stancy still seemed confused, whereupon Paula noticed that her eyes\nwere continually drawn as if by fascination towards the photograph on", "'Yes,' returned Paula, with reservation. However, she soon added, 'He\nnot only wants to photograph his ancestors, but MY portrait too. They\nare a dreadfully encroaching sex, and perhaps being in the army makes\nthem worse!'", "De Stancy looked gloomy, and was on the point of acquiescing when he\nturned back and said, 'Why should your photograph be shown to the chief\nconstable?'\n\n'By whom?'", "It was now Mr. Power's turn. Anticipating Dare, who was advancing with\na deprecatory look to seize the photograph, he also grasped it. When he", "recklessly frank and not quite mercenary. His photographic scheme was\nnothing worse than a lover's not too scrupulous contrivance. After the", "Meanwhile Dare had come forward with his portfolio, which proved to be\nfull of photographs. While Paula and Charlotte were examining them he", "'Also of photography,' said Dare with a bow. 'Though but an amateur in\nthat art I can challenge comparison with Regent Street or Broadway.'", "photographic amateur, and it seems that he wrote some time ago to Miss\nPower, who gave him permission to take views of the castle, and promised\nto show him the best points. But I have heard nothing of it, and", "'Then I take leave of you; and tender my best wishes that you may have a\npleasant time before you!.... I set out for England to-night.'\n\n'With a special photographer, no doubt?'" ], [ "world, Dare made himself agreeable to that gentleman, and afterwards\ntried to do the same with Miss De Stancy. At this the captain, to whom\nthe situation for some time had been amazingly uncomfortable, pleaded", "'Mr. Dare, we are anxious to know something of Miss Power's architect;\nand Captain De Stancy tells us you have seen him lately,' said Mr. Power\nsonorously over the edge of his newspaper.", "'What!' said Captain De Stancy, paling with horror as he gathered the\nother's sinister meaning.\n\nDare instantly recollected himself. 'One is tempted to say anything at\nsuch a moment,' he replied hastily.", "Dare started back in surprise, and naturally so. De Stancy, having\nadopted a new system of living, and relinquished the meagre diet and", "Dare put away the wine. 'Now you are to see something,' he said.\n\n'Something--what is it?' Captain De Stancy regarded him with a puzzled\nlook.", "Dare laid his hand upon De Stancy's arm. 'Captain, we are both warm, and\npunctilious on points of honour; this will come to a split between us if", "It was impossible to escape their observation, and putting a bold front\nupon it, De Stancy advanced with Dare at his side, till in a few moments", "'He's Captain De Stancy, Sir William De Stancy's son, who used to own\nthis property.'\n\n'Baronet or knight?'", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public", "Dare had withdrawn to a point at which another path crossed the path\noccupied by De Stancy. Looking in a side direction, he saw Havill", "Dare seemed to act as if there were plenty of time for his business.\nSome few days had slipped by when, perceiving Captain De Stancy walk", "'Captain De Stancy--son of Sir William De Stancy. He's the husband.\nO, you needn't look incredulous: it is practicable; but we won't argue", "Sir William De Stancy drew a dejected breath at the tone of the answer.\nThey conversed but a little while longer, the captain hinting to Dare", "Seeing that his visitor was Dare, from whom, as will be remembered, he\nhad parted at Carlsruhe in no very satisfied mood, De Stancy did not ask", "De Stancy was dumb. This item of news which Dare had kept from him, not\nknowing how far De Stancy's sense of honour might extend, was decidedly", "neared Dare, but was still partially hidden by the boughs from the third\nof the party, the former simply pointed to De Stancy upon which Havill", "of the town, till Dare was revealed to him on his left hand. When De\nStancy recognized the youth he was visibly agitated, though apparently\nnot surprised. Standing still a moment he dropped his glance upon the", "'Then the captain is now Sir William De Stancy!' she exclaimed. 'Really,\nPaula, since you would be Lady De Stancy by marrying him, I almost\nthink--'\n\n'Hush, aunt!'", "Dare mounted a stile beside the highway and patiently waited. In about\ntwenty minutes De Stancy came out again and turned back in the direction", "Although De Stancy was distracted between his desire to preserve Dare\nfrom the consequences of folly, and a gentlemanly wish to keep as close" ], [ "Thereupon Somerset at once went down to Mr. Dare. His coming as a sort\nof counterfeit of Miss Power disposed Somerset to judge him with as much", "Dare guessed, for he had seen a little way into Havill's soul during the\nbrief period of their confederacy. But he was very far from saying what", "and liberality of payment, a possible lord of Burleigh, came forward and\nsaid it was certainly not a woman, but whether man or boy she could not\nsay. 'His name is Mr. Dare,' she added.", "Dare went to the garden-chair on which Havill had been seated, and found\nthe article left behind to be a pocket-book. Whether because it was", "They went to bed again. Dare was soon asleep; but Havill did not attempt\nto disturb him again. The elder man slept but fitfully. He was aroused", "There was a silence; whereupon Dare arose without hesitation, and walked\nboldly into the private office. Havill was standing at one end, as", "Dare felt secure of him at those words. Havill had much at stake; the\nslightest rumour of his trick in bringing about the competition, would\nbe fatal to Havill's reputation.", "Whether Havill already knew all was a nice question for Mr. Dare's\nluminous mind. Havill had had opportunities of reading his secret,", "Havill had recovered some coolness. 'You could not use it upon me,' he\nsaid sardonically, watching Dare. 'It would be risking your neck for too\nlittle an object.'", "It was now evident that the scheme of getting money from Paula was\neither of Dare's invention, or that Somerset, ashamed of his first", "It was impossible to escape their observation, and putting a bold front\nupon it, De Stancy advanced with Dare at his side, till in a few moments", "Havill turned to Dare, and stared. 'By George, you don't stick at\ntrifles, young man. You don't suppose I would go into a man's rooms and\nsteal his inventions like that?'", "Dare uncovered the drawings, and young Somerset's brain-work for the\nlast six weeks lay under their eyes. To Dare, who was too cursory", "Dare was breathing profoundly. Instigated as above mentioned, Havill\ngot out of bed and stood beside the sleeper. After a moment's pause he", "'To know his design is to win,' said Dare. 'And to win is to send him\nback to London where he came from.'\n\nHavill inquired if Dare had seen any sketch of the design while with\nSomerset?", "'Mr. Dare, we are anxious to know something of Miss Power's architect;\nand Captain De Stancy tells us you have seen him lately,' said Mr. Power\nsonorously over the edge of his newspaper.", "Dare raised his eyes as he concluded his narration. As has been\nremarked, he was sitting at one end of the vestry-table, Power at the", "Why Dare, or any other person, should have set himself to advance her\nbrother's cause by such unscrupulous blackening of Somerset's character", "There was silence in the room after this, and Dare, finding himself\nrather in the way, took his leave as unostentatiously as a cat that has", "In the meanwhile Dare, descending from his pernicious interview with\nPaula and the rest, had descried Captain De Stancy in the public" ], [ "One curious impression which had often haunted him now returned with\nredoubled force. He could not see himself as the husband of Paula Power", "'The lady's name is Miss Paula Power, who, as you may have heard since\nyour arrival, is in absolute possession of her father's property and", "Paula sighed deeply; and said, 'Yes.'\n\n'Your hand upon it.'\n\nShe gave him her hand: he held it a few moments, then raised it to his\nlips, and was gone.", "'My uncle, Mr. Abner Power,' said Paula suddenly to Somerset, as he came\nnear, presenting the stranger to the astonished young man. 'I could not", "That morning the post-bag had been brought to Paula and Mrs. Goodman\nin the usual way, and Miss Power read the letter. His resignation was a", "The first overt result of his kindled interest in Miss Power was his\nsaying to his sister the day after the surreptitious sight of Paula: 'I\nam sorry, Charlotte, for a word or two I said the other day.'", "Power, was discovered asleep on the sofa of the landlord's parlour. At\nhalf-past five Paula, who in the interim had been pensively sitting with", "'My dearest life!' Paula's eyes rounding somewhat, he corrected the\nexclamation. 'My dear Miss Power, I will, without reserve, tell it to\nyou all over again.'", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "'I have heard that Miss Power is soon to be married,' continued\nSomerset.", "once with Paula Power he would give a year of his life. He looked round;\nbut she was nowhere to be seen. The first set began; old and middle-aged", "'He's dead!' cried Paula, sinking into a chair and turning as pale as\nmarble. 'Is he dead?--tell me!' she whispered.", "the affection of Paula Power. There were, however, occasions when a\nrecollection of his old renunciatory vows would obtrude itself upon him,", "'I did not ask for him,' said Paula.\n\n'No, Miss Power: but I thought--'", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "Power, who had appeared anxious during their absence, regained her\nself-control. Going towards her old lover she said, with a smile, 'I\nhave been looking for you!'", "It was now time for Somerset to be genuinely grieved at what he had\ndone. Paula seemed so good and honourable at that moment that he could\nhave laid down his life for her.", "He there unexpectedly saw standing Miss Power's carriage; and on drawing\nnearer he found it to contain Paula herself, Miss De Stancy, and Mrs.\nGoodman.", "'The place of husband to Miss Power, and proprietor of that castle and\ndomain.'\n\n'That's a scheme with a vengeance. Who is the man?'\n\n'It is my secret at present.'", "'I know the place, and I agree with you,' said Paula.\n\n'You agree with me on all subjects but one,' he presently observed, in a\nvoice not intended to reach the others." ], [ "now well-nigh over. But on awaking in the morning and looking up\nthe valley towards the castle, and at the dark green height of the", "Somerset remained but a short time at the castle that day. The light\nof its chambers had fled, the gross grandeur of the dictatorial towers", "He spent the remainder of the day in making a little sketch to show what\nhad been done in the castle since her departure. This he despatched with\na letter of explanation ending in a paragraph of a different tenor:--", "But the captain had, and when Havill entered the castle he rejoiced with\ngreat joy. Dare, too, rejoiced in his cold way, and went on with his\nphotography, saying, 'The game progresses, captain.'", "castle. The paper was two days old, but to his unutterable amazement he\nread therein a paragraph which ran as follows:--", "the castle hill which was to be the end of their journey, and beheld\nstretched beneath them the valley of the Murg. They alighted and entered\nthe fortress.", "He spent some following hours in a close study of the castle history,\nwhich till now had unutterably bored him. More particularly did he", "When they came out of the tunnel at the other end he caught a glimpse of\nthe distant castle-keep, and the well-remembered walls beneath it. The", "Reaching the castle he entered his own quarters as usual, and after\nsetting the draughtsmen to work walked up and down pondering how he", "On their journey they pondered and discussed what course it would be\nbest to pursue in the circumstances, gradually deciding not to attempt\nrebuilding the castle unless they were absolutely compelled. True,", "'I have heard of it.' Turning to where the dim lines of the castle rose\nhe continued: 'Well, there it stands.'\n\n'And I am not in it.'", "come to be in the castle still; wormeaten rubbish zome o' it, and hardly\nworth moving.'", "A note was despatched to Havill that very day, and in an hour the\ncrestfallen architect presented himself at the castle. Paula instantly", "The castle to-night was as gloomy as the meads. As Havill had explained,\nthe habitable rooms were just now undergoing a scour, and the main block", "The two women then wished him good-morning and went away. Somerset,\nfeeling that he had now every reason for prowling about the castle,", "'They are going to stay here to-night,' said Havill. 'They have come\nquite unexpectedly, and the castle is in such a state of turmoil that", "'Ah! they have gone, have they?'\n\n'Yes, castle and furniture went together: it was long ago--long before\nI was born. It doesn't seem to me as if the place ever belonged to a\nrelative of mine.'", "Every day after this there was coming and going to and from the castle\nof railway vans laden with canvas columns, pasteboard trees, limp", "Abner Power walked back to the castle at a slow and equal pace, as\nthough he carried an over-brimming vessel on his head. He silently let", "street and along the turnpike road to the very hill on which the castle\nstood, the keep being visible in the daytime above the trees. Here\nrose the light, which appeared little further off than a stone's throw" ], [ "'The place of husband to Miss Power, and proprietor of that castle and\ndomain.'\n\n'That's a scheme with a vengeance. Who is the man?'\n\n'It is my secret at present.'", "'That what?'\n\n'That railway. He was Mr. John Power, the great railway contractor. And\nit was through making the railway that he discovered this castle--the\nrailway was diverted a little on its account.'", "'The lady's name is Miss Paula Power, who, as you may have heard since\nyour arrival, is in absolute possession of her father's property and", "He passed under the castle-arch and entered. There seemed a little turn\nin the tide of affairs when it was announced to him that Miss Power\nexpected him, and was alone.", "and pictures of the castle which belonged to the De Stancys are not\nrestricted from sale; they are hers to do what she likes with. Old Power", "Abner Power walked back to the castle at a slow and equal pace, as\nthough he carried an over-brimming vessel on his head. He silently let", "Sir William De Stancy, Baronet, and Paula, only daughter of the late\nJohn Power, Esq., M.P., of Stancy Castle.'", "'Well, what news?' said Dare.\n\n'Miss Power has returned to the castle, Somerset is detained in London,\nand the competition is decided,' said Havill, with a glance of quiet\ndubiousness.", "castle. The paper was two days old, but to his unutterable amazement he\nread therein a paragraph which ran as follows:--", "Mr. Power bought it of the representatives of Mr. Wilkins--almost\nimmediately indeed--than he died from a chill caught after a warm bath.\nOn account of that she did not take possession for several months; and", "given over to himself and his myrmidons. There was really no reason\nother than a sentimental one why he should see her. The uninhabited\npart of the castle was almost an independent structure, and it was quite", "His neighbour happened to be the landlord at Sleeping-Green, and he\ninformed the stranger that she was what he supposed.\n\n'And who is that gentleman whose line of business seems to be to make\nlove to Power?'", "Reaching the castle he entered his own quarters as usual, and after\nsetting the draughtsmen to work walked up and down pondering how he", "A note was despatched to Havill that very day, and in an hour the\ncrestfallen architect presented himself at the castle. Paula instantly", "Power it merely signified that he was engaged in ruminations which\nnecessitated a more extensive survey than usual. At last, at half-past\neight, after having sat for five hours with his eyes on the residence of", "But the captain had, and when Havill entered the castle he rejoiced with\ngreat joy. Dare, too, rejoiced in his cold way, and went on with his\nphotography, saying, 'The game progresses, captain.'", "'I have heard of it.' Turning to where the dim lines of the castle rose\nhe continued: 'Well, there it stands.'\n\n'And I am not in it.'", "now well-nigh over. But on awaking in the morning and looking up\nthe valley towards the castle, and at the dark green height of the", "Power, was discovered asleep on the sofa of the landlord's parlour. At\nhalf-past five Paula, who in the interim had been pensively sitting with", "unconsciously followed that maxim. She has struck up a warm friendship\nwith our neighbour, Miss Power, at the castle. We are diametrically\ndifferent from her in associations, traditions, ideas, religion--she" ], [ "Mrs. Goodman was much impressed. She had never clearly heard before what\ncircumstances had attended the resignation of Paula's architect. 'We had", "The time was coming--had indeed come--when it was necessary for Paula to\nmake up her mind about her architect, if she meant to begin building in", "'I said I would not tell any architect myself,' interposed Paula\ncorrectingly. 'I did not then know that he would be Mr. Somerset.'\n\n'It is rather startling,' said Somerset.", "Paula was lost in reflection. 'The other architect's design and Mr.\nHavill's are exactly equal in merit, and we cannot decide how to give it\nto either,' explained Charlotte.", "Paula was very sorry to hear it, and remarked that it gave her great\nsatisfaction to have appointed him as architect of the first wing before", "new position so excited the emotional side of his nature that he could\nnot concentrate it on feet and inches. As Paula's architect (supposing\nHavill not to be admitted as a competitor), he must of necessity be in", "'It is not anywhere but in Paula's brain; she has laid it out from her\nown design. The site is supposed to be near our railway station, just", "Paula had sunk into a reverie. 'I was intending to intrust the work\nto Mr. Havill, a local architect,' she said. 'But I gathered from", "At his suggestion Paula had agreed to have the works executed as\nsuch operations were carried out in old times, before the advent of\ncontractors. Each trade required in the building was to be represented", "have expected as Paula's architect, and certainly less than he might\nhave supposed his due as her accepted lover.", "present arrangements she did not so seriously anticipate, now that\nmorning had a little calmed her. Since the rupture with her former\narchitect Paula had sedulously kept her own counsel, but Charlotte", "It seemed to be quite unconsciously done, and Somerset thought it a\nvery beautiful action. Presently Paula returned to him and said, 'Mr.\nSomerset, I think we have had enough architecture for to-day.'", "'No,' said Paula. 'I think it would be unfair. I have not looked at\nMr.--the other architect's plans since he has begun to design seriously,", "In this architectural dialogue over his sketches, Somerset's head and\nPaula's became unavoidably very close. The temptation was too much for", "Dare went out through the back office as Paula was shown in at the\nfront. She wore a grey travelling costume, and seemed to be in some\nhaste.", "Paula left them together, and Mrs. Goodman then made him acquainted with\na few of the best people, describing what they were in a whisper before", "Paula replied that she was not alone, and went to the door. There\nwas one moment during which Somerset might have conveniently made his", "there. On receiving a reply in the negative, Paula nearly betrayed\nherself by turning, as if her business there, too, ended with the\ninformation. However, she went on again, and made a pretence of looking", "the county history, with the view of gathering some ideas as to the\ndistribution of rooms therein before the demolition of a portion of the\nstructure, he decided off-hand that Paula's dinner was not of sufficient", "on the premises, I believe--acting as clerk of the works!' The usually\nwell-balanced Paula was excited, and scarcely knowing what she did went\nto the bell-pull." ], [ "Somerset so frigidly, and relief that it was Paula who did so. For,\nnotwithstanding her assumption that Somerset could never be anything\nmore to her than he was already, Charlotte's heart would occasionally", "Paula for relief from his distresses instead of elsewhere. It was a\nself-humiliation which a lover would have avoided at all costs, he\nthought. Yet after a momentary reflection on his theory of Somerset's", "Paula had first read this through silently, and now in reading it a\nsecond time aloud to Somerset her voice faltered, and she wept outright.", "It was now time for Somerset to be genuinely grieved at what he had\ndone. Paula seemed so good and honourable at that moment that he could\nhave laid down his life for her.", "Somerset, who had no distractions on the other side of him, could\nhear every word of this. He glanced at Paula. She had not known of his", "Somerset's, mistress, was an added point to the satire. He could\nhardly go so far as to assume that Paula was a consenting party to this", "control over Paula, or direction in her estates; but Somerset could not\ndoubt that a near and only blood relation, even had he possessed but\nhalf the static force of character that made itself apparent in Mr.", "Immediately on sight of him Dare showed real alarm. He had imagined that\nSomerset would eventually impinge on Paula's route, but he had scarcely", "Somerset's hand was hot and trembling; Paula's, on the contrary, was\ncool and soft as an infant's.", "'I must congratulate you on having put the castle into good hands,'\ncontinued the enthusiastic young man.\n\n'I believe Mr. Somerset is quite competent,' said Paula stiffly.", "Somerset at such a moment were the act of a simpleton, it was the only\ncourse open to honesty. But Paula's cheerful serenity in some", "Somerset admitted that there was a resemblance, while Paula drew her\nforefinger across the marble face of the effigy, and at length took", "It seemed to be quite unconsciously done, and Somerset thought it a\nvery beautiful action. Presently Paula returned to him and said, 'Mr.\nSomerset, I think we have had enough architecture for to-day.'", "While Somerset was reflecting how far this statement was true, he heard\nthe voice of Paula inquiring, 'Who can he be?'", "and, attracted by the call which Somerset now raised, began to descend\ntowards him. In a moment, not Paula's face, but that of a dreary footman\nof her household, looked into the hole.", "As she concluded she let her eyes rest on Somerset for a moment, as if\nto ask him to side with her. Much as he liked talking to Paula, he", "Somerset recognized Paula's uncle in the portrait.\n\nHostilities, then, were beginning. The paragraph had been meant as the\nfirst slap. Taking her abroad was the second.", "was probably the last. To them that picture of Somerset had all the\ncogency of direct vision. Paula's experience, much less Charlotte's, had", "drawing-room, and entered to him forthwith. It was while they were here\ntogether that Somerset passed the door and sent up his name to Paula.", "Somerset excused himself, and in a few minutes withdrew. At the door\nhe looked round for an instant, and his eyes met Paula's. There was the" ] ]

[ "Who did Paula Power's father purchase the castle from?", "Who is George Somerset?", "What is the name of the amature photographer?", "What does Captain De Stancy represent to Paula?", "What does Somerset represent?", "Which way does William Dare try to discredit Somerset?", "Who alerts Paula to William Dare's deceit?", "Who does Paula run after?", "What happens to Paula's castle?", "Where does the term Laodocean come from?", "Who is George Somerset?", "Who is William Dare's father?", "How did William Dare deceptively promote his father's affections to Paula?", "Who told Paula about William Dare's deception?", "Where is George Somerset from?", "Why did George Somerset go to the continent?", "From whom did Paula's father purchase the medieval castle?", "What is referred to as Paula's dichotomy?", "What does Captain De Stancy represent to Paula?", "From whom was the castle purchased?", "George Somerset is from what city?", "What is the name of the village photographer?", "Who is William Dare to Captain De Stancy?", "Who discovers William Dare's subterfuge?", "Whom does Paula Power marry?", "What happens to the castle?", "From whom does Pala Power inherit the castle?", "How may architects does Paula Hire?", "What does George Somerset represent to Paula?" ]

[ [ "the De Stancy family", "The De Stancy family." ], [ "Paula's architect", "An architecht from London" ], [ "William Dare, the illegitimate son of Captain De Stancy", "William Dare" ], [ "a dream of medieval nobility", "Medievel nobility" ], [ "modernity", "Modernity in the novel." ], [ "He fakes a telegram and photo depicting the man as having a licentious life.", "He makes a fake telegram and photograph." ], [ "Charlotte, De Stancy's sister.", "Charlotte" ], [ "Somerset", "Somerset" ], [ "It burns down but Somerset vows to build a new, modern one.", "The castle is burnt" ], [ "Verses in the New Testament", "It comes from the New Testament" ], [ "An architect employed by Paula Power", "an architect" ], [ "His father is Captain De Stancy", "Captain De Stancy" ], [ "With a fake photograph and telegram", "He faked a telegram and photographs to make Somerset look bad." ], [ "Captain De Stancy's sister Charlotte", "Charlotte" ], [ "London", "London." ], [ "Because he mistakenly believed Paula and the Captain had married", "He believes Paula and De Stancy have married." ], [ "The De Stancy family", "The De Stancy Family" ], [ "Paula is torn between modernity and midieval romanticism", "her mind between modernism and romantic medievalism" ], [ "A dream of medieval nobility", "a dream of nobility" ], [ "De Stancy family", "The De Stancy Family" ], [ "London", "London" ], [ "William Dare", "William Dare" ], [ "son", "his illigitimate son" ], [ "Charlotte", "Charlotte." ], [ "George Somerset", "George Somerset" ], [ "Burns", "It burns down" ], [ "Fauther ", "her father" ], [ "2", "two" ], [ "Modernity", "Modernity." ] ]

[ [ "After a first hasty survey of the group in general, I had eyes for only\none person in it--a fine graceful girl about fourteen years old, and the", "The number of her years mattered nothing to me; the virgin sweetness of\ngirlhood was on her lips, the freshness and glory of early youth on her", "\"No, Smith; it is an offense to suggest, or even to think, such a thing,\nhowever much you may love her, for she is not allowed to converse with", "youngest by far of the party. A description of this girl will give some\nidea, albeit a very poor one, of the faces and general appearance of", "countenance before them a long earnest gaze, as if taking an eternal\nfarewell of one they had deeply loved. At this moment the the beautiful\ngirl I have described all at once threw herself with a sobbing cry on", "\"This one is sleeping also,\" he said cheerfully, touching the girl's\nhair with his hand. \"But you need not fear, Smith; I think we shall be\nable to talk very well without waking her.\"", "but I will forgive you, Smith, because I love you. Do you not think I\nlove you enough? You are very dear to me--dearer every day.\" And drawing\ndown my face she kissed my lips.", "and her age being, say, fifteen, and mine twenty-one, we are so far well\nsuited to each other, according to my notions. Smith covenanted! for", "How thirty days have changed you! Oh, Smith, do you love me so much?\"", "\"Oh, Smith, how do you know?\" she returned quickly, looking up with her\neyes still shining with large drops.", "beautiful girl was very strong in me. At all events, by closing with the\noffer I should have a year of happiness in her society, and a year of", "The exquisite form and face of this young girl, from the first moment of\nseeing her, produced a very deep impression; and I continued watching", "He put his hand on her head, and, looking down, studied her upturned\nface. \"Ah, my daughter,\" he said with a smile, \"shall I guess what has", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "\"But surely your name is Smith?\" said she, looking very much surprised.\n\n\"Oh yes, my name is Smith: only of course--well, the tact is, I was just\nwondering what to call you.\"", "\"I know you do, Smith. I can understand and appreciate your love without\nhaving my lips bruised.\"\n\n\"And do you love me, Yoletta?\"", "\"Yes, young; that is why it is so bitter to think of. In old age the\nfeelings are not so keen.\" Then suddenly she put out her hands towards", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"" ], [ "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "\"Smith,\" said he, with a grave smile, \"if you cannot be happy unless you\nare laboring in the forest with your ax you must proceed with your", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "to perform works of skill; and as these are the most agreeable to the\nworker, it would please us more to have you labor in the fields than in\nthe workhouse.\"", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "\"I am strong,\" I answered, \"and will gladly undertake labor of the kind\nyou speak of. There is, however, one difficulty. My desire is to change", "comfortably, spending money, eating and drinking of the best, and\ndressing well--that is, according to the London standard. And there was\nmy dear old bachelor Uncle Jack--John Smith, Member of Parliament for", "\"I do not know what you are talking about, Smith; and I am not\nlistening.\"\n\n\"Well, listen for one moment, and tell me how long does a year last?\"", "\"But surely your name is Smith?\" said she, looking very much surprised.\n\n\"Oh yes, my name is Smith: only of course--well, the tact is, I was just\nwondering what to call you.\"", "\"_All_ you possess!\" he replied. \"Surely I did not say that! Surely\nyou possess the strength and skill common to all men, and can acquire\nanything you wish by the labor of your hands.\"", "\"There are trees to be felled, land to be plowed, and many other things\nto be done. If you will do these things some one else will be released", "\"My country,\" said I, with the natural pride of a Briton, \"is England,\nand my name is Smith.\"\n\n\"No such country is known to me,\" he returned; \"nor have I ever heard\nsuch a name as yours.\"", "\"This one is sleeping also,\" he said cheerfully, touching the girl's\nhair with his hand. \"But you need not fear, Smith; I think we shall be\nable to talk very well without waking her.\"", "but I will forgive you, Smith, because I love you. Do you not think I\nlove you enough? You are very dear to me--dearer every day.\" And drawing\ndown my face she kissed my lips.", "\"Your story is a very strange one,\" said the old man in reply, after a\npause of considerable duration. \"That you are a perfect stranger in this\nplace is evident from your appearance, your uncouth dress, and your\nthick speech.\"", "Little notice was taken of this somewhat incoherent speech, for all were\nnow gathering round the table, examining the gold and notes with eager\ncuriosity. At length the old gentleman, pointing to the gold pieces,\nsaid: \"What are these?\"" ], [ "On coming in I had the impression of an empty, silent place; yet the\ninmates of the house were all there; they were sitting and reclining on", "That evening I overheard a curious little dialogue. The father of the\nhouse, as I had now grown accustomed to call our head, after rising from", "children indiscriminately. Yet this mysterious non-existent mother of\nthe house was continually being spoken of, as I found now and afterwards\nwhen I listened to the talk around me. After thinking the matter over, I", "The people of the house were already assembled, standing and sitting by\nthe small tables. There was a lively hum of conversation, which ceased", "matters. There was also a great deal about the _house_, which did\nnot enlighten me much, being too rhapsodical, and when he spoke about", "that they all speak the same language; and until this moment I also\nbelieved that they wrote in similar characters. You, however, have now\nsucceeded in convincing me that this is not the case; that in some", "\"Your story is a very strange one,\" said the old man in reply, after a\npause of considerable duration. \"That you are a perfect stranger in this\nplace is evident from your appearance, your uncouth dress, and your\nthick speech.\"", "\"Oh,\" she replied, \"now I can understand the reason of the surprise your\nwords have often caused in the house! Your very feelings seem unlike", "this people, especially their ideas concerning _The House_, which\nappeared to be an object of almost religious regard with them. This\nwould make me quite independent, and teach me how to avoid blundering in", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "\"You shall commence to-morrow morning,\" he answered, smiling at my\nimpetuosity. \"The daughters of the house, whose province it is to make", "about the \"august Mother of the house\" were unintelligible, and appeared\nto me meaningless. I had already come to the conclusion that however\nmany of the ladies of the establishment might have experienced the", "color of their eyes and hair, and in their fascinating dress, they had\nstruck me as being utterly unlike any people ever seen by me. But it was\nperhaps in their clear, sweet, penetrative voice, which sometimes", "inhabiting it, which is one with the house, and endures forever, albeit\nthe members composing it must all in time return to the dust?\"", "After some moments of silence, she resumed: \"The father has said to-day\nthat you came to us from an island where even the customs of the people", "the house. Among his silent people the father sat with gray, haggard\nface and troubled eyes; then Yoletta entered, her sweet face looking\npaler than when I had first seen it after her long punishment, while", "a \"mother in the house,\" a successor to this very Isarte. Fearing that I\nhad touched on a dangerous topic, I said no more, and proceeding on our", "\"This shall be the chief glory of our house for ever; when a thousand\nyears have gone by, and we that are now living, like those that have", "\"Yes, I know everything that passes in the house. Reading and work of\nall kinds are a pain and weariness. The only thing left to me is to", "seemed expedient that I should give some hours each day to reading; for\nso far my conversations and close intimacy with the people of the house\nhad not dissipated the cloud of mystery in which their customs were hid;" ], [ "\"Surely, Yoletta,\" said I, \"you were only poking fun at me--I mean,\namusing yourself at my expense. You can't possibly be more than about\nfifteen, or sixteen at the very outside.\"", "of Yoletta here, and that and the resemblance misled you. You must know\nthat there has always been a Yoletta in this house. This was the", "\"You talk in riddles, Yoletta; but I'm afraid the answers to them would\nnot sound very flattering to me. But if you would like to know the song", "This was from the girl Yoletta. I stared at her, surprised at her\nunseasonable levity; but the only effect of my doing so was a general", "Yoletta, and said: \"I will serve thee seven years for Yoletta, thy\nyounger daughter\"; and the old gentleman answered: \"Abide with me, for I", "you sixteen, exactly what I had imagined. Is it not so, Yoletta?\"", "for, compared with Yoletta, were like creatures of clay compared with\none of the immortals. And was she not a being of a higher order than", "\"What are you thinking of, Yoletta, that you look so serious?\" I asked.\n\n\"Nothing,\" she returned, a little impatiently.", "disagree with her any more, and only said: \"How sweetly you talk,\nYoletta; you are as wise as you are beautiful. I could wish for no", "\"For goodness sake, Yoletta, let us behave like rational beings and walk\nquietly,\" I was beginning, when away she went again, dancing up the", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "that I am, why can't I keep calm! But, Yoletta, how you distress me! It\nalmost frightens me to ask another question, but do tell me how old your\nfather is?\"", "I am mistaken in any particular you shall correct me. The great love you\nhave for Yoletta,\" he continued--and at this I started and blushed", "\"Would you really do that, Yoletta?\"", "between the rocks, and one could cross over by jumping from rock to\nrock. Yoletta led the way, leaping airily from stone to stone, while I,", "\"I am so sorry I hurt you, Yoletta--may I call you Yoletta?\" said I, all\nat once remembering that she had called me Smith, without the customary\nprefix.", "while the others pursued their various occupations as on the former\nevening. Not being able to get near Yoletta, and having nothing to do, I", "\"Go now,\" she presently added in a petulant tone; \"I am tired, and wish\nto rest\"; and Yoletta, who had been standing silently by me all the\ntime, took my hand and led me from the room.", "however, after overhearing this conversation, I knew that on this\nparticular occasion it would be Yoletta, and in spite of the very poor\nopinion she had expressed of my musical abilities, I was prepared to", "\"How should I know, Yoletta?\" I returned. \"I have not heard you address\nany one as mother; besides, how is one to know anything in a strange\nplace unless he is told?\"" ], [ "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "Then, with a modest blush, I read the words of the sentence: \"In\ndifferent parts of the world men have different customs, and write\ndifferent letters; but alike to all men in all places, a lie is", "of accident. For thirty days you must live apart from us, subsisting on\nbread and water, and holding intercourse with one person only, who will\nassist you with your work and provide you with all things necessary.\"", "offenses may be forgiven a man, but it is impossible to forgive a lie.\"", "\"This,\" said he, with an access of wrath, \"is an aggravation of your\nformer offense. It is even a worse offense than the first, and must be\ndealt with separately--when the sixty days have expired.\"", "painful to you than the light punishment I am about to inflict for so\ndestestable a crime.\"", "\"No man,\" he returned, with increased severity, \"is so ignorant as not\nto know right from wrong. Had the matter come to my knowledge sooner, I", "\"Are you, then, going to condemn me without hearing me speak, or telling\nme anything about it? What lie have I told?\"", "be assigned to you, and subsisting on bread and water only. Let us hope\nthat in this period of solitude and silence you will sufficiently repent\nyour crime, and rejoin us afterwards with a changed heart; for all", "\"What! Punished for being ill!\" I exclaimed, sitting bolt upright in my\nbed. \"What do you mean, Edra? I never heard such outrageous nonsense in\nmy life!\"", "in; but we know that everywhere they have the same law of right and\nwrong inscribed on the heart, and, as you have said, hate a lie; also", "us. You are still feeble, and perhaps a little confused in mind\nconcerning the events of the last few days: I do not therefore press you\nto give an account of them, but shall simply state your offense, and if", "\"Do you not then know that it is unlawful to entertain such a thought as\nyou have expressed?\" he said. \"In moments of supreme pain or bitterness", "round the corner, and that also will be set down as a crime, to be\nexpiated in solitary confinement, on a bread-and-water diet! No, you", "offense, only to be expiated by solitary confinement and a\nbread-and-water diet; or, if not punishable in that way, it would", "\"Yes, often; for what other punishment is there? But oh, I hope it will\nnever happen again, because I think--I know that I suffer more than any", "offenses against the truth. I have no doubt that when you have recovered\nfrom the effects of your late accident these vain thoughts and\nimaginations will cease to trouble you.\"", "year expires, we must suffer you. For the space of sixty days you must\ndwell apart from us, never leaving the room, where each day a task will", "This seemed to me a harsh, even a cruel punishment for so trivial an\noffense, or accident, rather; but she was not perhaps of the same mind,\nfor she kissed his hand, as if in gratitude for his leniency.", "\"A lie!\" I exclaimed in amazement. \"I have told no lie!\"" ], [ "is their predestined mother. And for the space of one year she shall be\nwithout authority in the house, being one apart, instructing herself in\nthe secret books which it is not lawful for another to read, and", "\"Of the human race only a small remnant survived, these being men of an\nhumble mind, who had lived apart and unknown to their fellows; and after", "of accident. For thirty days you must live apart from us, subsisting on\nbread and water, and holding intercourse with one person only, who will\nassist you with your work and provide you with all things necessary.\"", "\"Yes, poor boy, you are very ignorant,\" she returned, placing her hand\non my forehead. \"You must know that this is a mother's book, and only a\nmother may read in it.\"", "was in fact the father of them all--since in two centuries a man might\nhave an indefinite number of children--who was the mother or mothers? I", "of beauty, I allow, and some people seem more beautiful to us than\nothers, but that is only because we love them more. The best loved are\nalways the most beautiful.\"", "sorrow to those who succeed us; but a mother is different: her wishes\nare sacred, and what she wills is right.\"", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "these people all really brothers and sisters? So far, I had been unable,\neven with the most jealous watching, to detect anything like love-making", "those who worked or read. They appeared to be gifted with an owlish\nvision, able to see with very little light. The father alone did\nnothing, but still rested on his couch, perhaps indulging in a", "\"So I imagined. An island of which no report has ever reached us, where\nthe people, isolated from their fellows, have in the course of many", "\"Oh, please say no more! You love your people with one kind of love, but\nme with a different love--is it not so?\"\n\n\"There is only one kind of love,\" said she.", "not allowed to enter the Mother's Room of an evening now, and the\nexclusion extended also to the others, Edra only excepted; for at this", "\"No, Smith; it is an offense to suggest, or even to think, such a thing,\nhowever much you may love her, for she is not allowed to converse with", "\"Oh, there is not so great a difference between people as _that_,\"\nshe replied, with the air of a philosopher. \"There are different kinds", "these things, shall also suspend other work until your garments are\nfinished. And now, my son, from this evening you are one of the house\nand one of us, and the things which we possess you also possess in", "their mystic splendor. Each morning one of the men would go out some\ndistance from the house and blow on a horn, which could be heard\ndistinctly two miles away; and presently a number of horses, in couples", "\"_All_ you possess!\" he replied. \"Surely I did not say that! Surely\nyou possess the strength and skill common to all men, and can acquire\nanything you wish by the labor of your hands.\"", "\"Yes, dear, because love is strange--the strangest, sweetest thing in\nlife. It comes once only to the heart, and the one person loved is\ninfinitely more than all others. Do you not understand that?\"", "we are discussing. Men pass away, and others take their places. Trees\nalso decay, but the forest does not die, or suffer for the loss of\nindividual trees; is it not the same with the house and the family" ], [ "came to the conclusion that \"mother of the house\" was merely a\nconvenient fiction, and simply stood for the general sense of the\nwomen-folk, or something of the sort. It was perhaps stupid of me, but", "their mystic splendor. Each morning one of the men would go out some\ndistance from the house and blow on a horn, which could be heard\ndistinctly two miles away; and presently a number of horses, in couples", "pleasures and pains of maternity, there was really no mother of the\nhouse in the sense that there was a father of the house: that is to say,\none possessing authority over the others and calling them all her", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "big house. Men in such a position can afford to be as eccentric as they\nlike, even to the wearing of Carnivalesque garments, burying their", "\"I love every one in the house, some more than others. Those that are\nclosely related to me I love most.\"", "in your present condition, as a son of the house, but also those higher\nmatters which belong to the heads of the house--to the father and\nmother.\"", "inhabiting it, which is one with the house, and endures forever, albeit\nthe members composing it must all in time return to the dust?\"", "a \"mother in the house,\" a successor to this very Isarte. Fearing that I\nhad touched on a dangerous topic, I said no more, and proceeding on our", "about the \"august Mother of the house\" were unintelligible, and appeared\nto me meaningless. I had already come to the conclusion that however\nmany of the ladies of the establishment might have experienced the", "\"This shall be the chief glory of our house for ever; when a thousand\nyears have gone by, and we that are now living, like those that have", "as life lasts. And she shall no longer serve in the house or suffer\nrebuke; but all shall serve her in love, and hold her in reverence, who", "we are discussing. Men pass away, and others take their places. Trees\nalso decay, but the forest does not die, or suffer for the loss of\nindividual trees; is it not the same with the house and the family", "That evening I overheard a curious little dialogue. The father of the\nhouse, as I had now grown accustomed to call our head, after rising from", "relationship with the lady of the house. She had indeed forgotten my\noffense: I was one of her children, sharing equally with the others in\nher impartial affection, and privileged to sit at her feet to relate to", "raised to so high a state, and to have authority over all others, since\nin her, with the father, all the majesty and glory of the house is", "matters. There was also a great deal about the _house_, which did\nnot enlighten me much, being too rhapsodical, and when he spoke about", "house--one chosen from themselves--there shall be no cloud or shadow;\nand, taking her by the hand, and kissing her face in token of joy, and", "of Yoletta here, and that and the resemblance misled you. You must know\nthat there has always been a Yoletta in this house. This was the", "of adults? Again, more curious still, why was the father of the house\nadorned with a majestic beard, while the other men, of various ages, had" ], [ "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "Again I took the bottle with trembling hand, and filled the same small\ncup to the brim, saying: \"For your sake then, Yoletta, let me drink, and", "\"I am so sorry I hurt you, Yoletta--may I call you Yoletta?\" said I, all\nat once remembering that she had called me Smith, without the customary\nprefix.", "\"I know you do, Smith. I can understand and appreciate your love without\nhaving my lips bruised.\"\n\n\"And do you love me, Yoletta?\"", "I am mistaken in any particular you shall correct me. The great love you\nhave for Yoletta,\" he continued--and at this I started and blushed", "while the others pursued their various occupations as on the former\nevening. Not being able to get near Yoletta, and having nothing to do, I", "repenteth, bent down and touched her lips to mine. \"How can you love any\none more than that, Smith?\" she said. \"Yet you say that your love for\nYoletta exceeds all others.\"", "painfully, but the succeeding words served to show that I had only too\nlittle cause for alarm--\"the great love you have for Yoletta caused you", "\"For goodness sake, Yoletta, let us behave like rational beings and walk\nquietly,\" I was beginning, when away she went again, dancing up the", "_Drink and be cured_. No, not yet. Some day, perhaps, my trouble\nincreasing till it might no longer be borne, would drive me to seek such", "becoming strangely confused. I closed my eyes to think, and presently\nopening them again, saw Yoletta kneeling before me, gazing up into my\nface with an alarmed expression.", "presently notice it, and draw their own conclusions. She continued\nlooking at me, until for very shame I turned my face aside; for if I had\nconfessed that separation from Yoletta caused my dejection, she would", "\"She is sleeping still,\" he said presently, \"perhaps without pain, like\nYoletta here, and her sleep will now probably last for some hours.\"", "where I sat. I tried to cry out, \"Come quick, Yoletta, and save me from\ndeath!\" but though I mentally repeated the words again and again in an", "\"Go now,\" she presently added in a petulant tone; \"I am tired, and wish\nto rest\"; and Yoletta, who had been standing silently by me all the\ntime, took my hand and led me from the room.", "which seemed to be the normal condition of my fellow-inmates. My passion\nfor Yoletta now burned with a gentle flame, which did not consume, but", "but when Yoletta, coming last, put her white arms about my neck and\npressed her lips to mine, the ecstasy I felt was so greatly overbalanced", "less frequent, while the lines of pain faded out of her white,\ndeath-like face. And at length Yoletta, stealing softly to my side,", "\"I know the reason, though I ask you,\" she continued, placing a hand on\nmy shoulder. \"You are grieving for Yoletta--I saw it from the first. I", "lose you for ever! Save me from death, Yoletta, my love, my bride--save\nme--save me--save me!" ], [ "Turning the bottle round I read the whole sentence. _When time and\ndisease oppress, and the sun grows cold in heaven, and there is no", "I took the bottle in my hand and unstopped it. The stopper formed a\ncurious little cup, round the rim of which was written, _Drink of", "that curious richly-colored bottle close to my eyes. There were letters\non it, noticed now for the first time--minute, hair-like lines beneath\nthe strange-contrasted processionists depicted on the band--and even in", "Above the bottle there was a deep circular cell in the alcove, about\nfifteen inches in diameter; fitted in it was a metal ring, to which were", "fruit, and a stone bottle of milk. Then, not knowing what else to do, I\nbegan to amuse myself by blowing on the whistle, and emitted a most", "stood there, I observed a bulb-shaped bottle, with a long thin neck,\nvery beautifully colored. I had seen it before, but without paying\nparticular attention to it, there being so many treasures of its kind in", "\"Another important secret!\" thought I; \"this day has certainly been\nfruitful in discoveries. A panacea for all diseases, even for the", "dreary comfort as this cure-all bottle contained. To love without hope\nwas sad enough, but to be without love was even sadder.", "disease of old age, so that a man may live two hundred years, and still\nfind some pleasure in existence. But for me life has lost its savor, and", "_Drink and be cured_. No, not yet. Some day, perhaps, my trouble\nincreasing till it might no longer be borne, would drive me to seek such", "Suddenly I remembered the draught from the bottle, and a terrible doubt\nshot through my heart. Alas! had I mistaken the meaning of those strange", "it back again and replaced the bottle in its niche.", "\"Oh, I have found you at last!\" she cried. \"I have been seeking you all\nover the house. I have something glad to tell you--something to make you", "words I had read?--was _death_ the cure which that mysterious\nvessel promised to those who drank of its contents? \"When life becomes a", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "Again I took the bottle with trembling hand, and filled the same small\ncup to the brim, saying: \"For your sake then, Yoletta, let me drink, and", "love, and revel in all supreme delight. Would not that be better than\nthis cure--this calm contentment held out to me? And in time also my\nfeelings would lose their present intensity, which often made them an", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "at all times during this period to oppress my heart. I only discovered,\nwhat others have discovered before me, that the practice of\nintrospection has a corrosive effect on the mind, which only serves to", "reclining at his ease. Beside the couch stood a lectern on which a large\nvolume rested, and before him there was a brass box or cabinet, and" ], [ "\"Your story is a very strange one,\" said the old man in reply, after a\npause of considerable duration. \"That you are a perfect stranger in this\nplace is evident from your appearance, your uncouth dress, and your\nthick speech.\"", "He began to read aloud, and, although he did not seem to raise his voice\nabove its usual pitch, the words he uttered fell on my ears with a", "\"Yes, poor boy, you are very ignorant,\" she returned, placing her hand\non my forehead. \"You must know that this is a mother's book, and only a\nmother may read in it.\"", "\"My son,\" said the father, addressing me in a calm, judicial tone which\nat once put my last remaining hopes to flight, \"it is a consolation to", "After a pause, during which he closely scrutinized my face, he said,\npointing to the open page before him: \"Yesterday, in answer to my", "The thrilling, pathetic tone in which these words were uttered affected\nme not a little; and when the ceremony was over I continued staring", "\"Now, tell me one secret,\" I exclaimed, when the excitement began to\nabate a little. \"Why is green the principal color in my clothes, when no\nother person in the house wears more than a very little of it?\"", "She was not listening to me, I saw: she had risen from the grass and\nseated herself again on the stone. For only answer to my question she\npointed to the west with her hand, saying: \"Look there, Smith.\"", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "For the space of half an hour I pondered on these things, then said: \"If\nI were to tell a hundredth part of this black retrospect to Yoletta,", "\"Oh yes, I can read perfectly well now,\" I answered. \"May I read to you\nfrom this book?\" Saying which, I put my hand towards a volume lying on", "There I started and stood still, amazed at the scene before me. The\nlight, which found entrance through tall, narrow windows, was dim, but\nsufficient to show the whole room with everything in it, ending at the", "Little notice was taken of this somewhat incoherent speech, for all were\nnow gathering round the table, examining the gold and notes with eager\ncuriosity. At length the old gentleman, pointing to the gold pieces,\nsaid: \"What are these?\"", "\"She had it made and placed here herself. It was her wish that the grief\nshe endured should be remembered in the house for all time, for no one", "the result of the little shake your hand has given to the old pasteboard\ntoy with a dozen bits of colored glass for contents? And, most important\nof all, can you present it in a narrative or romance which will enable", "But it had a curious effect on me, for, whereas before eating it I had\nnot felt hungry, I now seemed to be famishing, and began excitedly\nsearching about for more nuts. They were lying everywhere in the", "\"You are not reading,\" she said, looking curiously at me. \"I have been\nwatching you for some time.\"", "matters. There was also a great deal about the _house_, which did\nnot enlighten me much, being too rhapsodical, and when he spoke about", "her the incidents of the day, or describe all I had seen, and sometimes\nto touch her thin white hand with my lips. But the distance separating\nus was not forgotten. At the two first interviews she had taught me,", "\"Do you wonder why I smile?\" she added, as if able to read my thoughts.\n\"It is because I have often heard words like yours from one who is\nwaiting for me now.\"" ], [ "with wicker-work. It appeared as if the roots had _grown_ round me!\nLuckily they were quite sapless and brittle, and without bothering my", "itself had rolled down to the bottom of the ravine; but the pit in which\nit had left the huge stumps of severed roots was, I found, situated in a", "feet long, and looked, I imagined, curiously like a grave. A few yards\naway was a pile of dry brushwood, and some faggots bound together with", "loud shout to summon assistance, but as he sat so still I refrained, and\nbegan even to hope that he would go quietly away. Then he stood up, went", "I began once more to see light, although my skill, I knew, would not\ncount for much. \"Ah yes,\" I answered: \"to go back to that subject, I do", "up in due time, whereupon they marched off and made a fresh furrow as\nbefore, where there was nothing to guide them; and so the work went on\nagreeably for some hours, until I felt myself growing desperately", "seen during the night. Before I had made up my mind what to do, he was\nwithin a few yards of me, and then, coming to a sudden halt, he sat down", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "minutes, he started up, and, much to my relief, trotted away towards the\nwood; but after going about fifty yards he looked back, and seeing me", "house, claimed my first attention. Trembling with eagerness, I flung off\nthe old tweeds, the cracked boots, and other vestiges of a civilization", "Then a great cry, as of one who suddenly sees a black phantom, rang out\nloud in the room, jarring my brain with the madness of its terror, and", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "like a bird over roaring burns, rocks, and thorny bushes, never pausing\nuntil I was far away among those hills where that strange accident had", "looked larger, and of a deeper green. There was something wonderfully\nfascinating to me in that pale, suffering face, for, in spite of", "There I started and stood still, amazed at the scene before me. The\nlight, which found entrance through tall, narrow windows, was dim, but\nsufficient to show the whole room with everything in it, ending at the", "All at once she cried out: \"Oh, father, look there! Who is that\nstrange-looking man watching us from behind the bushes?\"", "with her hands, displayed a small, slender bud, on a round, smooth stem,\nspringing without leaves from the soil. \"Do you see!\" she said, looking\nup at me with a bright smile.", "Then, while I thus mused, I heard, not far off, a slight rustling sound,\nas of a hare startled at seeing me, and bounding away over the withered", "The thrilling, pathetic tone in which these words were uttered affected\nme not a little; and when the ceremony was over I continued staring", "Standing around they all waited in silence until the fire had burnt\nitself out; then the old man advancing stretched his arms above the" ], [ "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "\"I am so sorry I hurt you, Yoletta--may I call you Yoletta?\" said I, all\nat once remembering that she had called me Smith, without the customary\nprefix.", "while the others pursued their various occupations as on the former\nevening. Not being able to get near Yoletta, and having nothing to do, I", "\"I know you do, Smith. I can understand and appreciate your love without\nhaving my lips bruised.\"\n\n\"And do you love me, Yoletta?\"", "He then motioned me to a seat at his own table, where I was pleased to\nhave a place since the lovely Yoletta was also there.", "I am mistaken in any particular you shall correct me. The great love you\nhave for Yoletta,\" he continued--and at this I started and blushed", "distinctly recognized Yoletta in the rider. I started up, and sprang\njoyfully onto my own horse, and waving my hand to attract her attention,", "This was from the girl Yoletta. I stared at her, surprised at her\nunseasonable levity; but the only effect of my doing so was a general", "\"Go now,\" she presently added in a petulant tone; \"I am tired, and wish\nto rest\"; and Yoletta, who had been standing silently by me all the\ntime, took my hand and led me from the room.", "but when Yoletta, coming last, put her white arms about my neck and\npressed her lips to mine, the ecstasy I felt was so greatly overbalanced", "however, after overhearing this conversation, I knew that on this\nparticular occasion it would be Yoletta, and in spite of the very poor\nopinion she had expressed of my musical abilities, I was prepared to", "becoming strangely confused. I closed my eyes to think, and presently\nopening them again, saw Yoletta kneeling before me, gazing up into my\nface with an alarmed expression.", "then seeing Yoletta watching my departure from the terrace, I waved my\nhand to her. Before I had gone far, however, she came running to me,", "Arrived at the house I was again disappointed at not seeing Yoletta; yet\nwithout reasonable cause, since it was scarcely past midday, and she", "disturbing the singers, stole away into a dusky corner, where I sat down\nby myself. Yoletta had, however, seen me enter, for presently she came\nto me.", "his seat, stood for a few minutes talking near me, while Yoletta, with\nher hand on his arm, waited for him to finish. When he had done", "and where Yoletta, newly released from confinement, had found me. There\nlay the rough-barked giant exactly as I had left it, and once more I", "between the rocks, and one could cross over by jumping from rock to\nrock. Yoletta led the way, leaping airily from stone to stone, while I,", "\"Surely, Yoletta,\" said I, \"you were only poking fun at me--I mean,\namusing yourself at my expense. You can't possibly be more than about\nfifteen, or sixteen at the very outside.\"", "\"How should I know, Yoletta?\" I returned. \"I have not heard you address\nany one as mother; besides, how is one to know anything in a strange\nplace unless he is told?\"" ], [ "\"Smith,\" said he, with a grave smile, \"if you cannot be happy unless you\nare laboring in the forest with your ax you must proceed with your", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "\"If I bind myself to work one year,\" said I, \"shall I have to wait until\nthe end of that time before I get the clothes?\"\n\nThe reply to this question, I thought, would settle the matter one way\nor the other.", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "\"I do not know what you are talking about, Smith; and I am not\nlistening.\"\n\n\"Well, listen for one moment, and tell me how long does a year last?\"", "to perform works of skill; and as these are the most agreeable to the\nworker, it would please us more to have you labor in the fields than in\nthe workhouse.\"", "\"I am strong,\" I answered, \"and will gladly undertake labor of the kind\nyou speak of. There is, however, one difficulty. My desire is to change", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "of accident. For thirty days you must live apart from us, subsisting on\nbread and water, and holding intercourse with one person only, who will\nassist you with your work and provide you with all things necessary.\"", "but I will forgive you, Smith, because I love you. Do you not think I\nlove you enough? You are very dear to me--dearer every day.\" And drawing\ndown my face she kissed my lips.", "these clothes for others which will be more pleasing to the eye, at\nonce; but the work I shall have to do in return will not be finished in\na day. Perhaps not in--well, several days.\"", "\"But she was a mother, Smith, do you not understand? It would not be\nright for us to wish to have our griefs remembered for ever, to cause", "\"There are trees to be felled, land to be plowed, and many other things\nto be done. If you will do these things some one else will be released", "\"You shall commence to-morrow morning,\" he answered, smiling at my\nimpetuosity. \"The daughters of the house, whose province it is to make", "\"No, of course not,\" said he. \"A year's labor will be necessary to pay\nfor the garments you require.\"", "Yoletta, and said: \"I will serve thee seven years for Yoletta, thy\nyounger daughter\"; and the old gentleman answered: \"Abide with me, for I" ], [ "On coming in I had the impression of an empty, silent place; yet the\ninmates of the house were all there; they were sitting and reclining on", "That evening I overheard a curious little dialogue. The father of the\nhouse, as I had now grown accustomed to call our head, after rising from", "children indiscriminately. Yet this mysterious non-existent mother of\nthe house was continually being spoken of, as I found now and afterwards\nwhen I listened to the talk around me. After thinking the matter over, I", "The people of the house were already assembled, standing and sitting by\nthe small tables. There was a lively hum of conversation, which ceased", "matters. There was also a great deal about the _house_, which did\nnot enlighten me much, being too rhapsodical, and when he spoke about", "that they all speak the same language; and until this moment I also\nbelieved that they wrote in similar characters. You, however, have now\nsucceeded in convincing me that this is not the case; that in some", "\"Your story is a very strange one,\" said the old man in reply, after a\npause of considerable duration. \"That you are a perfect stranger in this\nplace is evident from your appearance, your uncouth dress, and your\nthick speech.\"", "\"Oh,\" she replied, \"now I can understand the reason of the surprise your\nwords have often caused in the house! Your very feelings seem unlike", "this people, especially their ideas concerning _The House_, which\nappeared to be an object of almost religious regard with them. This\nwould make me quite independent, and teach me how to avoid blundering in", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "\"You shall commence to-morrow morning,\" he answered, smiling at my\nimpetuosity. \"The daughters of the house, whose province it is to make", "about the \"august Mother of the house\" were unintelligible, and appeared\nto me meaningless. I had already come to the conclusion that however\nmany of the ladies of the establishment might have experienced the", "color of their eyes and hair, and in their fascinating dress, they had\nstruck me as being utterly unlike any people ever seen by me. But it was\nperhaps in their clear, sweet, penetrative voice, which sometimes", "inhabiting it, which is one with the house, and endures forever, albeit\nthe members composing it must all in time return to the dust?\"", "After some moments of silence, she resumed: \"The father has said to-day\nthat you came to us from an island where even the customs of the people", "the house. Among his silent people the father sat with gray, haggard\nface and troubled eyes; then Yoletta entered, her sweet face looking\npaler than when I had first seen it after her long punishment, while", "a \"mother in the house,\" a successor to this very Isarte. Fearing that I\nhad touched on a dangerous topic, I said no more, and proceeding on our", "\"This shall be the chief glory of our house for ever; when a thousand\nyears have gone by, and we that are now living, like those that have", "\"Yes, I know everything that passes in the house. Reading and work of\nall kinds are a pain and weariness. The only thing left to me is to", "seemed expedient that I should give some hours each day to reading; for\nso far my conversations and close intimacy with the people of the house\nhad not dissipated the cloud of mystery in which their customs were hid;" ], [ "On coming in I had the impression of an empty, silent place; yet the\ninmates of the house were all there; they were sitting and reclining on", "The people of the house were already assembled, standing and sitting by\nthe small tables. There was a lively hum of conversation, which ceased", "this people, especially their ideas concerning _The House_, which\nappeared to be an object of almost religious regard with them. This\nwould make me quite independent, and teach me how to avoid blundering in", "inhabiting it, which is one with the house, and endures forever, albeit\nthe members composing it must all in time return to the dust?\"", "matters. There was also a great deal about the _house_, which did\nnot enlighten me much, being too rhapsodical, and when he spoke about", "the house. Among his silent people the father sat with gray, haggard\nface and troubled eyes; then Yoletta entered, her sweet face looking\npaler than when I had first seen it after her long punishment, while", "saw for the first time. In a few moments the master of the house,\nfollowed by most of the other inmates, also entered, and on the faces of\nall of them I noticed the same cold, offended look.", "\"Oh,\" she replied, \"now I can understand the reason of the surprise your\nwords have often caused in the house! Your very feelings seem unlike", "fellow-men, learning as we do from him only, and seeing that which is\nnearest, give a special color of nature to their lives and their houses;\nand every house, with the family which inhabits it, in their", "long-lived, they were mortal like their own passionless children, and in\nthis particular house their lives appeared now to be drawing to an end.\nThese were questions I cared nothing about. It was enough to know that", "children indiscriminately. Yet this mysterious non-existent mother of\nthe house was continually being spoken of, as I found now and afterwards\nwhen I listened to the talk around me. After thinking the matter over, I", "\"She had it made and placed here herself. It was her wish that the grief\nshe endured should be remembered in the house for all time, for no one", "\"This shall be the chief glory of our house for ever; when a thousand\nyears have gone by, and we that are now living, like those that have", "house, claimed my first attention. Trembling with eagerness, I flung off\nthe old tweeds, the cracked boots, and other vestiges of a civilization", "at her face revealed to me that she differed in appearance and\nexpression from other inmates of the house: one reason was that she was\nextremely pale, and bore on her worn countenance the impress of", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "color of their eyes and hair, and in their fascinating dress, they had\nstruck me as being utterly unlike any people ever seen by me. But it was\nperhaps in their clear, sweet, penetrative voice, which sometimes", "\"Yes, I know everything that passes in the house. Reading and work of\nall kinds are a pain and weariness. The only thing left to me is to", "youngest by far of the party. A description of this girl will give some\nidea, albeit a very poor one, of the faces and general appearance of", "love--that sisterly affection which she gave me so unstintingly. Of\ncourse I was surrounded with mysteries, being in the house but not of\nit, to the manner born; and I had already arrived at the conclusion that" ], [ "\"So I imagined. An island of which no report has ever reached us, where\nthe people, isolated from their fellows, have in the course of many", "\"There is no melody in our hearts this evening, my children,\" he said.\n\"When another day has passed over us it will perhaps be different.", "children indiscriminately. Yet this mysterious non-existent mother of\nthe house was continually being spoken of, as I found now and afterwards\nwhen I listened to the talk around me. After thinking the matter over, I", "long-lived, they were mortal like their own passionless children, and in\nthis particular house their lives appeared now to be drawing to an end.\nThese were questions I cared nothing about. It was enough to know that", "in constant requisition, all the members of the family, male and female,\nspending several hours every day in careering over the surrounding\ncountry, seemingly without any particular object. The contagion did not", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "Her lip curled, and then, turning to me, she continued: \"If there are\nhouses in your island without mothers in them, it is not so elsewhere in", "I had not imagined that she had come into the world without a mother;\nnevertheless, the fact that this passionless girl, who had told me that\nthere was only one kind of love, was the daughter of a woman actually", "\"No, father,\" she returned, \"I have only been a little way from home in\nthought--only to that spot where the grass has not yet grown to hide the", "\"Of the human race only a small remnant survived, these being men of an\nhumble mind, who had lived apart and unknown to their fellows; and after", "of accident. For thirty days you must live apart from us, subsisting on\nbread and water, and holding intercourse with one person only, who will\nassist you with your work and provide you with all things necessary.\"", "the children of the house there could be no union by marriage; in body\nand soul they differed from me: they had no name for that feeling which\nI had so often and so vainly declared; therefore they had told me again", "conversation of her children. The only flowers in the house were in\ntheir illuminations, and those wrought in metal and carved in wood, and", "them into a closer kinship with the blue over-arching sky. There was one\nlarge house or mansion in sight, but no town, nor even a hamlet, and not", "of adults? Again, more curious still, why was the father of the house\nadorned with a majestic beard, while the other men, of various ages, had", "not among us because of her illness. For very long she has been\nafflicted with a malady from which she cannot recover, and for a whole\nyear she has not left the Mother's Room.\"", "world, and all men in all places are expected to be familiar with their\nnames. But come, my children, our sorrowful task is over, let us now", "and it happens, too, that I am her daughter--her only child. You have\nnot seen her because you have never asked to be taken to her; and she is", "is their predestined mother. And for the space of one year she shall be\nwithout authority in the house, being one apart, instructing herself in\nthe secret books which it is not lawful for another to read, and", "these people all really brothers and sisters? So far, I had been unable,\neven with the most jealous watching, to detect anything like love-making" ], [ "the house. Among his silent people the father sat with gray, haggard\nface and troubled eyes; then Yoletta entered, her sweet face looking\npaler than when I had first seen it after her long punishment, while", "of Yoletta here, and that and the resemblance misled you. You must know\nthat there has always been a Yoletta in this house. This was the", "the case. Looking round at the assembled company I missed Yoletta, and\nmy heart sank in me, and I even wished that my first impression had\nproved correct. On the great stone table, before which the father was", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "\"Tell me, Yoletta, who is this?\" I whispered. \"Is it a statue of some\none who lived in this house?\"", "Arrived at the house I was again disappointed at not seeing Yoletta; yet\nwithout reasonable cause, since it was scarcely past midday, and she", "I am mistaken in any particular you shall correct me. The great love you\nhave for Yoletta,\" he continued--and at this I started and blushed", "Yoletta, and said: \"I will serve thee seven years for Yoletta, thy\nyounger daughter\"; and the old gentleman answered: \"Abide with me, for I", "away and be nothing to succeeding generations, and it would not be right\nthat Yoletta's name should be remembered for the wrong she did to the\nhouse, and all she did for its good forgotten.\"", "\"Go now,\" she presently added in a petulant tone; \"I am tired, and wish\nto rest\"; and Yoletta, who had been standing silently by me all the\ntime, took my hand and led me from the room.", "\"How should I know, Yoletta?\" I returned. \"I have not heard you address\nany one as mother; besides, how is one to know anything in a strange\nplace unless he is told?\"", "\"You talk in riddles, Yoletta; but I'm afraid the answers to them would\nnot sound very flattering to me. But if you would like to know the song", "\"I am so sorry I hurt you, Yoletta--may I call you Yoletta?\" said I, all\nat once remembering that she had called me Smith, without the customary\nprefix.", "Away with it! I shall go and look for Yoletta, since she does not come\nto me. Good-by, old friend, you have been well-behaved and listened with", "while the others pursued their various occupations as on the former\nevening. Not being able to get near Yoletta, and having nothing to do, I", "\"For goodness sake, Yoletta, let us behave like rational beings and walk\nquietly,\" I was beginning, when away she went again, dancing up the", "This was from the girl Yoletta. I stared at her, surprised at her\nunseasonable levity; but the only effect of my doing so was a general", "the father of the house, seated with Chastel, and with them seven or\neight of the others. They all welcomed me, and seemed glad to see me out", "for, compared with Yoletta, were like creatures of clay compared with\none of the immortals. And was she not a being of a higher order than", "\"When you ask me to walk again, Yoletta,\" I panted, \"I shall not move\nunless I have a rope round your waist to pull you back when you try to" ], [ "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "I have no wish to last so long. There is more writing here--another\nsecret perhaps, but I doubt very much that it will give me any comfort.\"", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "words I had read?--was _death_ the cure which that mysterious\nvessel promised to those who drank of its contents? \"When life becomes a", "I took the bottle in my hand and unstopped it. The stopper formed a\ncurious little cup, round the rim of which was written, _Drink of", "\"Smith,\" said he, with a grave smile, \"if you cannot be happy unless you\nare laboring in the forest with your ax you must proceed with your", "dreary comfort as this cure-all bottle contained. To love without hope\nwas sad enough, but to be without love was even sadder.", "_Drink and be cured_. No, not yet. Some day, perhaps, my trouble\nincreasing till it might no longer be borne, would drive me to seek such", "The old man looked at me with a grave smile--that smile was fast\nbecoming intolerable--and said: \"Are you so fond of honey, Smith? You", "love, and revel in all supreme delight. Would not that be better than\nthis cure--this calm contentment held out to me? And in time also my\nfeelings would lose their present intensity, which often made them an", "Suddenly I remembered the draught from the bottle, and a terrible doubt\nshot through my heart. Alas! had I mistaken the meaning of those strange", "Turning the bottle round I read the whole sentence. _When time and\ndisease oppress, and the sun grows cold in heaven, and there is no", "\"No, I shall not drink and be cured! Better a thousand times the\nthoughts that lead to madness than this colorless existence without\nlove. I do not wish to recover from so sweet a malady.\"", "are different from ours; and perhaps one of their unhappy methods is to\nseek to medicine a real misery by imagining some impossible and\nimmeasurably greater one. In no other way can I account for your strange", "It made me quite happy to end it in this way. The hard bed, the cold\nnight wind blowing on me, my wolfish visitor, were all forgotten. Once" ], [ "She looked at me with the greatest surprise. \"Do you mean to say,\" she\nanswered, \"that you do not know I have a mother--that there is a mother\nof the house?\"", "\"But she was a mother, Smith, do you not understand? It would not be\nright for us to wish to have our griefs remembered for ever, to cause", "Smith, how could you be in the world and not know that there is a mother\nin every house! How could you travel and not know that when you enter a", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "a \"mother in the house,\" a successor to this very Isarte. Fearing that I\nhad touched on a dangerous topic, I said no more, and proceeding on our", "I knew she was going to take me to her mother, and rose to obey her\ngladly, for since the conversation I had had with her the desire to know\nthe lady of the house had given me no peace.", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "about the \"august Mother of the house\" were unintelligible, and appeared\nto me meaningless. I had already come to the conclusion that however\nmany of the ladies of the establishment might have experienced the", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "\"Yes, poor boy, you are very ignorant,\" she returned, placing her hand\non my forehead. \"You must know that this is a mother's book, and only a\nmother may read in it.\"", "came to the conclusion that \"mother of the house\" was merely a\nconvenient fiction, and simply stood for the general sense of the\nwomen-folk, or something of the sort. It was perhaps stupid of me, but", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "\"Yes; you can read about her in the history of the house, and in this\ninscription on the stone. She was a mother, and her name was Isarte.\"", "mother of the house has willed that your offense shall be pardoned.\"", "\"How strange, then, that you never asked till now! There is a mother of\nthe house--the mother of us all, of you since you were made one of us;", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "uneasy at her scrutiny, I said in a whisper: \"Dearest mother, do you\nwish to say anything to me?\"", "living in the house, of whose existence I had never before heard, except\nin an indirect way which I failed to understand, seemed like a dream to\nme. Now I was about to see this hidden woman, and the interview would", "children indiscriminately. Yet this mysterious non-existent mother of\nthe house was continually being spoken of, as I found now and afterwards\nwhen I listened to the talk around me. After thinking the matter over, I" ], [ "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "were not broken; and feeling very sleepy and miserable, I groped about\nuntil I Was rewarded by discovering a narrow bed, or cot of", "\"This one is sleeping also,\" he said cheerfully, touching the girl's\nhair with his hand. \"But you need not fear, Smith; I think we shall be\nable to talk very well without waking her.\"", "There I started and stood still, amazed at the scene before me. The\nlight, which found entrance through tall, narrow windows, was dim, but\nsufficient to show the whole room with everything in it, ending at the", "waves of his own creating. And presently from other sleeping-rooms on a\nline with mine shot forth new bewitching forms, each sparsely clothed in", "Her waking, which gave me a pang at first, afforded me in the end a\nstill greater bliss.\n\n\"Oh, how dark it is--where am I?\" she exclaimed, starting suddenly from\nrepose.", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "where Chastel was lying on a low bed placed on a slightly raised\nplatform in the center of the floor. In the dim light her face looked\nwhite as the pillow on which it rested, her forehead contracted with", "report that the mother was still sleeping peacefully, hearing which, the\nfather rose to seek a little needful rest in an adjoining room. Before\ngoing, however, he proposed, with mistaken kindness, to relieve me of my", "for so many days before, darkened to the blackness of despair, and\nsuddenly throwing up my arms, the book slipped from my knees and fell\nwith a crash upon the floor. There, face downwards, with its beautiful", "round; then, casting myself upon a bed of chips and withered leaves, I\nlay gasping for breath, with only life enough left in me to wonder", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "settled myself comfortably in one of the spacious seats, and gave up my\nmind to pleasant dreams. At length, to my surprise, the father, who had", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "Little notice was taken of this somewhat incoherent speech, for all were\nnow gathering round the table, examining the gold and notes with eager\ncuriosity. At length the old gentleman, pointing to the gold pieces,\nsaid: \"What are these?\"", "house, claimed my first attention. Trembling with eagerness, I flung off\nthe old tweeds, the cracked boots, and other vestiges of a civilization", "Then a great cry, as of one who suddenly sees a black phantom, rang out\nloud in the room, jarring my brain with the madness of its terror, and", "reclining at his ease. Beside the couch stood a lectern on which a large\nvolume rested, and before him there was a brass box or cabinet, and" ], [ "one which I always prefer to admire from behind a hedge, or at a\ndistance through a field-glass. Fortunately his wrathful mutterings gave\nme timely notice of his approach, and without waiting to discover his", "them into a closer kinship with the blue over-arching sky. There was one\nlarge house or mansion in sight, but no town, nor even a hamlet, and not", "or three miles from the house, north of it, on the other side of the\nriver. From its summit I felt sure that a very extensive view of the", "seen during the night. Before I had made up my mind what to do, he was\nwithin a few yards of me, and then, coming to a sudden halt, he sat down", "within twenty yards of the nearest--for they were scattered over an acre\nof ground; then they rose with a loud, rustling noise of wings, only to\nsettle again at a short distance off.", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "minutes, he started up, and, much to my relief, trotted away towards the\nwood; but after going about fifty yards he looked back, and seeing me", "Then, while I thus mused, I heard, not far off, a slight rustling sound,\nas of a hare startled at seeing me, and bounding away over the withered", "After the meal a small closed basket was handed to me, and one of the\nyoung men led me out to a little distance from the house, then, pointing", "like a bird over roaring burns, rocks, and thorny bushes, never pausing\nuntil I was far away among those hills where that strange accident had", "their mystic splendor. Each morning one of the men would go out some\ndistance from the house and blow on a horn, which could be heard\ndistinctly two miles away; and presently a number of horses, in couples", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "I remained standing on the grass about thirty yards from the first steps\nafter the others had gone in, all but the old gentleman, who still kept", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "feet long, and looked, I imagined, curiously like a grave. A few yards\naway was a pile of dry brushwood, and some faggots bound together with", "up in due time, whereupon they marched off and made a fresh furrow as\nbefore, where there was nothing to guide them; and so the work went on\nagreeably for some hours, until I felt myself growing desperately", "down to form a vast platform which stood about a dozen feet above the\nsurrounding green level. The sloping and buttressed sides of the\nplatform were clothed with ivy, wild shrubs, and various flowering", "the surrounding country. The prospect which disclosed itself when I had\ngot a couple of hundred feet above the surrounding level, appeared\nunfamiliar. The hills among which I had been wandering were now behind", "end. Behind these joyful ones, in pale gray, and half-obscured by the\nmists that formed the background, appeared a second procession, hurrying", "side of the house and looked upon the river, which was not more than a\ncouple of hundred yards from the terrace or platform on which it stood.\nThe ground here sloped rapidly to the banks, and, like that in the" ], [ "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "others as we walked towards the house. The old man, however, still kept\nat my side; but whether from motives of courtesy, or because he wished\nto badger me a little more about my uncouth appearance and defective", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "seen during the night. Before I had made up my mind what to do, he was\nwithin a few yards of me, and then, coming to a sudden halt, he sat down", "house, claimed my first attention. Trembling with eagerness, I flung off\nthe old tweeds, the cracked boots, and other vestiges of a civilization", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "side of the house and looked upon the river, which was not more than a\ncouple of hundred yards from the terrace or platform on which it stood.\nThe ground here sloped rapidly to the banks, and, like that in the", "At the end our way to the house was over a green turf, among great trees\nas in a park; and as there was no road or path, the first sight of the", "Bestowing another caress on him I got up and went back to the house,\nthinking sadly as I walked that the bright weather had not yet greatly\nimproved my spirits.", "minutes, he started up, and, much to my relief, trotted away towards the\nwood; but after going about fifty yards he looked back, and seeing me", "When I arrived at the house I was met by the young man who had set me\nthe morning's task; but he was taciturn now, and wore a cold, estranged", "anxious to escape a wetting, followed her with caution; but when I was\nsafe over, and thought our delightful walk was about to begin, she\nsuddenly started off towards the hill at a swift pace, which quickly", "After the meal a small closed basket was handed to me, and one of the\nyoung men led me out to a little distance from the house, then, pointing", "had dropped upon the grass on arriving at the grave. Presently the old\nman stooped and drew the covering back from the dead one's face--a", "and troops, would come galloping in, after which they would remain all\nthe morning grazing and gamboling about the house. These horses were now", "round me three or four times, neighing in a sharp, ringing manner, and\nfinally, after having exhausted their superfluous energy, they walked to\nthe plow and placed themselves deliberately before it. It looked as if", "loud shout to summon assistance, but as he sat so still I refrained, and\nbegan even to hope that he would go quietly away. Then he stood up, went", "one great stone mansion, close to the river I had mentioned. There were\nalso horses and cows in sight, and a number of scattered sheep were\ngrazing on the hillside beneath me.", "or three miles from the house, north of it, on the other side of the\nriver. From its summit I felt sure that a very extensive view of the", "I assented, and he rose and walked away to the far end of the hall,\nwhere a great door stood facing the one by which we had entered. From" ], [ "\"This one is sleeping also,\" he said cheerfully, touching the girl's\nhair with his hand. \"But you need not fear, Smith; I think we shall be\nable to talk very well without waking her.\"", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "The others all appeared deeply affected at her grief, and presently a\nyoung man standing by raised her from the ground and drew her gently\nagainst his side, where for some minutes she continued convulsively", "countenance before them a long earnest gaze, as if taking an eternal\nfarewell of one they had deeply loved. At this moment the the beautiful\ngirl I have described all at once threw herself with a sobbing cry on", "corpse, with the intention of giving it burial in that very pit beside\nwhich I was standing; and, although it looked most unlike a funeral, for\nno person in the procession wore black, the thought strengthened to a", "Presently, while I stood admiring this most lovely work, the young man I\nhave mentioned as having raised Yoletta from the ground at the grave\ncame to my side and remarked, smiling: \"You have noticed the\nresemblance.\"", "After a first hasty survey of the group in general, I had eyes for only\none person in it--a fine graceful girl about fourteen years old, and the", "the ground beside the grave I ran a small thorn into it.\" Then the\nremembrance of that scene at the burial brought a sudden mist of tears\ninto her lovely eyes.", "her knees before the corpse, and, stooping, kissed the face with\npassionate grief. \"Oh, my beloved, must we now leave you alone forever!\"", "had dropped upon the grass on arriving at the grave. Presently the old\nman stooped and drew the covering back from the dead one's face--a", "listlessly, glancing at intervals at the beautiful girl, who was also\nlike one of the pages before me, wonderful to look at and hard to\nunderstand. In a distant part of the room I saw her place some cushions", "\"But she was a mother, Smith, do you not understand? It would not be\nright for us to wish to have our griefs remembered for ever, to cause", "\"But surely your name is Smith?\" said she, looking very much surprised.\n\n\"Oh yes, my name is Smith: only of course--well, the tact is, I was just\nwondering what to call you.\"", "vacantly at the speaker, ignorant of the fact that the beautiful young\ngirl had her wide-open, startled eyes fixed on the bush which, I vainly\nimagined, concealed me from view.", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "in most places white flowers are used in funeral ceremonies. Some of the\nmen who had followed the body carried in their hands broad,\nthree-cornered bronze shovels, with short black handles, and these they", "Now some of those who were in the hall or who came in with the tables\nhad not attended the funeral, and these were all astonished on seeing", "Here a look of surprise and inquiry from the girl warned me that I was\nonce more plunging into obscurity.", "flowers in her hand, and in the hands of the others, and that was when\nthey were burying their dead. They never wore a flower, nor had I ever" ], [ "saw for the first time. In a few moments the master of the house,\nfollowed by most of the other inmates, also entered, and on the faces of\nall of them I noticed the same cold, offended look.", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "On coming in I had the impression of an empty, silent place; yet the\ninmates of the house were all there; they were sitting and reclining on", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "living in the house, of whose existence I had never before heard, except\nin an indirect way which I failed to understand, seemed like a dream to\nme. Now I was about to see this hidden woman, and the interview would", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "She looked at me with the greatest surprise. \"Do you mean to say,\" she\nanswered, \"that you do not know I have a mother--that there is a mother\nof the house?\"", "\"Oh,\" she replied, \"now I can understand the reason of the surprise your\nwords have often caused in the house! Your very feelings seem unlike", "the house. Among his silent people the father sat with gray, haggard\nface and troubled eyes; then Yoletta entered, her sweet face looking\npaler than when I had first seen it after her long punishment, while", "\"Oh, I have found you at last!\" she cried. \"I have been seeking you all\nover the house. I have something glad to tell you--something to make you", "Then a great cry, as of one who suddenly sees a black phantom, rang out\nloud in the room, jarring my brain with the madness of its terror, and", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "The question seemed to surprise her very much. \"_He_ is our\nfather,\" she returned, with a glance at the old gentleman, which seemed\nstrange, for he certainly looked aged enough to be her great-grandfather.", "\"Yes, or pull one down if we find it unsuitable--\" But his look of\nhorror here made me pause, and to finish the sentence I added: \"Of\ncourse, you must admit that a house had a beginning?\"", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "long-lived, they were mortal like their own passionless children, and in\nthis particular house their lives appeared now to be drawing to an end.\nThese were questions I cared nothing about. It was enough to know that", "I was dumb with shame at her words. How well I remembered that first\nevening in the house, when I could not but see that something was\nexpected of me, yet never ventured to ask for enlightment!", "look, which seemed to portend trouble. He at once led me to a part of\nthe house at a distance from the hall, and into a large apartment I now", "Smith, how could you be in the world and not know that there is a mother\nin every house! How could you travel and not know that when you enter a", "this people, especially their ideas concerning _The House_, which\nappeared to be an object of almost religious regard with them. This\nwould make me quite independent, and teach me how to avoid blundering in" ], [ "\"Of the human race only a small remnant survived, these being men of an\nhumble mind, who had lived apart and unknown to their fellows; and after", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "\"_All_ you possess!\" he replied. \"Surely I did not say that! Surely\nyou possess the strength and skill common to all men, and can acquire\nanything you wish by the labor of your hands.\"", "reason, higher knowledge, and articulate speech, were able to call down\nbenefits on ourselves, and avert pain and disaster, while the dumb,\nirrational brutes suffered in silence--the languishing deer that leaves", "it had consisted with his plan to make these delicate mortal bodies\ncapable of every agreeable sensation in the highest degree, yet not\nliable to accident, and not subject to misery and pain, he would surely", "She continued gazing up into my eyes. \"In a sense we do, I suppose, give\nourselves, body and soul, to those we love,\" she said. \"And if you are", "world, and all men in all places are expected to be familiar with their\nnames. But come, my children, our sorrowful task is over, let us now", "things, however, I bestowed but a hasty glance, so profoundly absorbed\nhad I become in watching the group of living human beings before me; for\nthey were certainly utterly unlike any fellow-creatures I had ever", "long centuries they went forth into the wilderness of earth and\nrepeopled it; but nowhere did they find any trace or record of those\nthat had passed away; for earth had covered all their ruined works with", "and repeople the peaceful world with struggling, starving millions, as\nin the past, so that the beautiful flower of love which had withered in\nmen's hearts might blossom again.", "happiness which had illumined my life was over. Now I possessed the\nsecret of that passionless, everlasting calm of beings who had for ever", "from the eyes of my kind friends in a very rough way indeed, and that\nthe being I loved best had been permanently withdrawn from my sight. It\nwas a blessed relief when Edra, in answer to the questions I put with", "\"So I imagined. An island of which no report has ever reached us, where\nthe people, isolated from their fellows, have in the course of many", "\"It is better to lay down the life that is ours, to leave all\nthings--the love of our kindred; the beauty of the world and of the", "which there could be no blissful futurity. After all the admonitions and\nthe comforting assurances I had received, and in spite of reason and all", "to dip their hands in blood, seeking in the living tissues of animals\nfor the hidden springs of life. For in their madness they hoped by\nknowledge to gain absolute dominion over nature, thereby taking from the", "ventured, when she had grown calm again, to tell her some of my\nmemories. I asked her to imagine a state of the world and the human", "from them. Thus by increasing their riches they were made poorer; and,\nlike one who, forgetting the limits that are set to his faculties, gazes", "long-lived, they were mortal like their own passionless children, and in\nthis particular house their lives appeared now to be drawing to an end.\nThese were questions I cared nothing about. It was enough to know that", "cannot suppress all curiosity, or help asking one another, What is your\ndream--your ideal? What is your News from Nowhere, or, rather, what is" ], [ "is their predestined mother. And for the space of one year she shall be\nwithout authority in the house, being one apart, instructing herself in\nthe secret books which it is not lawful for another to read, and", "was in fact the father of them all--since in two centuries a man might\nhave an indefinite number of children--who was the mother or mothers? I", "\"Of the human race only a small remnant survived, these being men of an\nhumble mind, who had lived apart and unknown to their fellows; and after", "\"Yes, poor boy, you are very ignorant,\" she returned, placing her hand\non my forehead. \"You must know that this is a mother's book, and only a\nmother may read in it.\"", "renewed, and who, fruitful themselves, were yet the parents of a barren\nrace. Nor did I ask who their successors would be: for albeit", "\"This shall be the chief glory of our house for ever; when a thousand\nyears have gone by, and we that are now living, like those that have", "those who worked or read. They appeared to be gifted with an owlish\nvision, able to see with very little light. The father alone did\nnothing, but still rested on his couch, perhaps indulging in a", "are. When I am gone, the father of the house will take no other one to\nhis bosom, for he is old, and his life is nearly complete; and in a", "as life lasts. And she shall no longer serve in the house or suffer\nrebuke; but all shall serve her in love, and hold her in reverence, who", "sorrow to those who succeed us; but a mother is different: her wishes\nare sacred, and what she wills is right.\"", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "was like mine, and exceeded mine, and no soul could measure it,\ntherefore in the hunger of your heart you looked far off into the\nfuture, where some one would perhaps have a like affliction, and suffer", "cannot suppress all curiosity, or help asking one another, What is your\ndream--your ideal? What is your News from Nowhere, or, rather, what is", "of accident. For thirty days you must live apart from us, subsisting on\nbread and water, and holding intercourse with one person only, who will\nassist you with your work and provide you with all things necessary.\"", "returned. For now a changed body and soul shall separate her forever\nfrom those who were one in nature with her; and with that superior\nhappiness destined to be hers there shall be the pains and perils of", "world, and all men in all places are expected to be familiar with their\nnames. But come, my children, our sorrowful task is over, let us now", "\"It is right that you should have that feeling, but idle to express it,\"\nshe answered gravely. \"If such wishes could be fulfilled my sufferings", "\"Yes, dear, because love is strange--the strangest, sweetest thing in\nlife. It comes once only to the heart, and the one person loved is\ninfinitely more than all others. Do you not understand that?\"", "years, and that great blackness of the end ever before the mind. This\nonly a mother can know, since the horror of utter darkness, and vain", "family, in which all women were, in one sense, on an equality--all\npossessing the same capacity for suffering; and where all were, or would\nbe, wives and mothers, and without any such mysterious remedy against" ], [ "and again that there was only one kind of love, for they, alas! could\nexperience one kind only. I did not, for the moment, seek further in the", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "The excitement had now burned itself out: she had dropped her head\nwearily on my shoulder, and bade me take her back. When I had safely\ndeposited her on the couch again, she remained for some minutes with her\nface covered, silently weeping.", "throughout the illimitable void, while he survives, blown to some far\nplanet whose strange aspect, however beautiful, fills him with an\nundefinable terror. And I knew, and the knowledge only intensified my", "\"Yes, young; that is why it is so bitter to think of. In old age the\nfeelings are not so keen.\" Then suddenly she put out her hands towards", "Such a mental state cannot endure for more than a few moments, and\npassing away, it left me weary and despondent. With dull, joyless eyes I", "The succeeding days were to me dreary beyond description. For the first\ntime I became fully conscious of the strength of a passion which had now", "\"But she was a mother, Smith, do you not understand? It would not be\nright for us to wish to have our griefs remembered for ever, to cause", "from the eyes of my kind friends in a very rough way indeed, and that\nthe being I loved best had been permanently withdrawn from my sight. It\nwas a blessed relief when Edra, in answer to the questions I put with", "\"No.\"\n\n\"That word is an echo, Smith. You must wait for the earth to bring forth\nher rainbow lilies, and the heart its love.\"", "dreary comfort as this cure-all bottle contained. To love without hope\nwas sad enough, but to be without love was even sadder.", "you, and to have a share in your affection; but your looks and words\nexpressed only contempt and dislike towards me. Would it not have been\nstrange if I had not felt extremely unhappy?\"", "She continued gazing up into my eyes. \"In a sense we do, I suppose, give\nourselves, body and soul, to those we love,\" she said. \"And if you are", "ground on which we could meet and exchange thoughts, or, at any rate,\nwords. Then I remembered that ground, common and broad enough, of our\nhuman feelings, especially the sweet and important feeling of love. But", "for so many days before, darkened to the blackness of despair, and\nsuddenly throwing up my arms, the book slipped from my knees and fell\nwith a crash upon the floor. There, face downwards, with its beautiful", "\"Oh, Smith, before this evening I did not think that I could love you\nmore; and sometimes, when I recalled what I once said to you--on the", "Then, as I sat there, filled with these despairing thoughts, she came\ndown from her perch, and, dropping on her knees before me, put her arms", "\"Why did you not come in to supper, Smith?\" she said. \"And why do you\nlook so sad?\"", "\"Yes, dear, because love is strange--the strangest, sweetest thing in\nlife. It comes once only to the heart, and the one person loved is\ninfinitely more than all others. Do you not understand that?\"", "vice, which may sometimes, in periods of suffering, give you a false\ncomfort for a brief season, only to degrade you, and sink you later in a\ndeeper misery. You must now leave me.\"" ], [ "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "south. I went on to the extreme end of the room, remembering now that I\nhad seen some volumes there when I had no time or inclination to look at", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "I noticed that there were books on a low stand near me. They were all\nfolios, very much alike in form and thickness; and seeing presently that", "reclining at his ease. Beside the couch stood a lectern on which a large\nvolume rested, and before him there was a brass box or cabinet, and", "the books--three volumes--in the lower part of an alcove in the wall;\nabove them, within a niche in the alcove, on a level with my face as I", "the couch at her side. It differed from the other books I had seen, in\nits smaller size and blue binding.", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "Some one then rose and brought a tall wax taper and placed it near him.\nThe flame threw a little brightness on the volume, which he now", "\"These things are written for the refreshment and delight of those who\nmay no longer journey into distant lands; and they are in the library of", "for so many days before, darkened to the blackness of despair, and\nsuddenly throwing up my arms, the book slipped from my knees and fell\nwith a crash upon the floor. There, face downwards, with its beautiful", "There I started and stood still, amazed at the scene before me. The\nlight, which found entrance through tall, narrow windows, was dim, but\nsufficient to show the whole room with everything in it, ending at the", "After a pause, during which he closely scrutinized my face, he said,\npointing to the open page before him: \"Yesterday, in answer to my", "\"Now, Smith, I am going to begin teaching you,\" said she, with the grave\nair of a young schoolmistress; \"and every afternoon, when your work is\ndone, you must come to me here.\"", "literature. I had never been to the library, and did not even know in\nwhat part of the house it was situated; nor had I ever expressed a wish", "\"Yes, poor boy, you are very ignorant,\" she returned, placing her hand\non my forehead. \"You must know that this is a mother's book, and only a\nmother may read in it.\"", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "knowledge in any books that happened to be there; for I could read now,\na result which my sweet schoolmistress had been the first to see, and at", "those who worked or read. They appeared to be gifted with an owlish\nvision, able to see with very little light. The father alone did\nnothing, but still rested on his couch, perhaps indulging in a", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a" ], [ "I took the bottle in my hand and unstopped it. The stopper formed a\ncurious little cup, round the rim of which was written, _Drink of", "Suddenly I remembered the draught from the bottle, and a terrible doubt\nshot through my heart. Alas! had I mistaken the meaning of those strange", "Again I took the bottle with trembling hand, and filled the same small\ncup to the brim, saying: \"For your sake then, Yoletta, let me drink, and", "I drained the cup deliberately, then stopped the bottle and put it back\nin its place. The liquor was tasteless, but colder than ice, and made me", "\"Smith,\" said the old man, advancing to the table, and depositing\nthereon a large volume he had brought with him, \"come here, and read to\nme in this book.\"", "\"But there is more to tell you, Smith. We know now that your illness is\nthe result of your own imprudence; and as soon as you are well enough to\nleave your room and bear it, you must suffer the punishment.\"", "before that icy-cold liquor had done its work. Finally, I carefully\nraised the fallen book, and smoothed out its doubled leaves, regretting", "Turning the bottle round I read the whole sentence. _When time and\ndisease oppress, and the sun grows cold in heaven, and there is no", "\"Smith,\" he said, addressing me in an impressive manner, but happily not\nto charge me with a third and bigger lie, \"I have lived long in the", "that curious richly-colored bottle close to my eyes. There were letters\non it, noticed now for the first time--minute, hair-like lines beneath\nthe strange-contrasted processionists depicted on the band--and even in", "\"What is the matter, Smith, you seem ill?\" she said; and then, laying\nher fresh palm on my forehead, added: \"Your head burns like fire.\"", "fruit, and a stone bottle of milk. Then, not knowing what else to do, I\nbegan to amuse myself by blowing on the whistle, and emitted a most", "Yoletta approached her, and, stooping, touched her lips to the pale,\nstill face. \"Mother,\" she said, \"I have brought Smith again; he is\nanxious to say something to you, if you will hear him.\"", "return to the house. Come with us, Smith, and you shall have the\nrefreshment you require.\"", "The excitement had now burned itself out: she had dropped her head\nwearily on my shoulder, and bade me take her back. When I had safely\ndeposited her on the couch again, she remained for some minutes with her\nface covered, silently weeping.", "shiver when I swallowed it. I began to wonder whether I would be\nconscious of the change it was destined to work in me or not; and then,", "Above the bottle there was a deep circular cell in the alcove, about\nfifteen inches in diameter; fitted in it was a metal ring, to which were", "\"Smith,\" said he, \"of all the extraordinary delusions you appear to be\nsuffering from, this, that you can have garments to wear in return for a", "but I will forgive you, Smith, because I love you. Do you not think I\nlove you enough? You are very dear to me--dearer every day.\" And drawing\ndown my face she kissed my lips.", "me_. I poured some of the liquid out into the cup; it was pale yellow\nin color, and had a faint sickly smell as of honeysuckles. Then I poured" ] ]

[ "That girl that Smith falls in love with looks how old?", "What job does Smith take in the community?", "According to the people of the house, what language do they speak?", "How old is Yoletta acutally?", "Lying in this community can get you what type of penalty?", "Who is allowed to reproduce in this community?", "What is another term used for the Alpha male and Queen of the House?", "Trying to cure his passion for Yoletta, what does Smith drink? ", "Where does he find the bottle that states it can cure the oppression's of time and disease?", "What narration style is used in this story?", "After getting out of the roots at the start of the story, what does Smith see that inspires him to go for help?", "At what event does Smith meet Yoletta?", "Why does Smith agree to work in the community for a year?", "According to the people of the house, what language do they speak?", "What are the primary characteristics of the people of the house?", "Why are there no children in the community?", "Who is the Father of the House to Yoletta?", "What does Smith hope to accomplish by taking a dose of the potion he finds at the end of the story?", "What does the Mother of the House want to do with Smith?", "When Smith wakes up originally, what is he surrounded by?", "After Smith gets out of the plants, what does he see in the distance?", "When Smith walks to the house, what event does he encounter?", "What is the name of the girl that Smith sees at the funeral?", "What does Smith find out about the people who live in the house that shocks him?", "What did the humans in the future give up in order to achieve their utopia?", "Who can reproduce in the future society?", "Why does Smith feel sadness when he realizes that the humans gave up love and sex?", "When Smith is in the library, what does he see on the shelf?", "What happens with Smith drinks the contents of the bottle?" ]

[ [ "14 years old", "14 years old" ], [ "A probationer", "A probationer." ], [ "The language of human beings", "of human beings" ], [ "She is 31 years old", "31" ], [ "Solitary confinement", "Solitary confinement." ], [ "The alpha male and the queen of the house", "the Father and Mother of the house" ], [ "Father and Mother of the house", "Father and Mother" ], [ "A bottle of poison", "Poison." ], [ "In the library", "In the library." ], [ "First person.", "first person" ], [ "A big house.", "a big house" ], [ "A funeral.", "funeral" ], [ "Because he wants to win over Yoletta.", "He is enthralled with Yoletta and wants to prove his worth." ], [ "The language of human beings.", "The language of human beings." ], [ "They are vegetarians, beautiful, pure, and peaceful.", "siblings" ], [ "Only the Mother and Father of the House reproduce.", "romantic interests are not allowed" ], [ "Her father.", "The old man." ], [ "He hopes it will cure his love for Yoletta.", "it will cure his passion for Yoletta" ], [ "Make him the new Father of the House.", "make him the new Father of the house" ], [ "The roots of plants", "a heap of earth and stones" ], [ "A large house", "a great house" ], [ "A funeral", "A funeral." ], [ "Yoletta", "Yoletta." ], [ "They are all much older than they appear", "the people's advanced age" ], [ "Romantic love and sex", "they let go of sex and romance" ], [ "The Queen or Alpha Male and Female or the Father and mother of the house", "the Father and Mother of the House only" ], [ "Because Yoletta will never love him like he loves her", "He realizes his passion for Yoletta can never be consummated." ], [ "A bottle that will cure his passion", "elaborately carved bottle" ], [ "He dies", "he becomes stiff and cold" ] ]

[ [ "Amory Blaine.\n\n *****", "\"I want to go to Princeton,\" said Amory. \"I don't know why, but I think\nof all Harvard men as sissies, like I used to be, and all Yale men as\nwearing big blue sweaters and smoking pipes.\"", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "might always be identified with him, was Amory Blaine. Amory marked\nhimself a fortunate youth, capable of infinite expansion for good or", "\"You remember Amory Blaine, of _course_. Well, he's simply mad to\nsee you again. He's stayed over a day from college, and he's coming", "\"My name's Holiday.\"\n\n\"Blaine's my name.\"\n\nThey shook hands with the fashionable low swoop. Amory grinned.\n\n\"Where'd you prep?\"", "Miserable, confined to bounds, unpopular with both faculty and\nstudents--that was Amory's first term. But at Christmas he had returned\nto Minneapolis, tight-lipped and strangely jubilant.", "its atmosphere of bright colors and its alluring reputation as the\npleasantest country club in America. Dwarfed by the menacing college\nexams, Amory's school days drifted into the past. Years afterward, when", "\"Imposition!\"\n\n\"Oh, at Princeton you've got to swallow everything the first year. It's\nlike a damned prep school.\"\n\nAmory agreed.", "But for the next four years the best of Amory's intellect was\nconcentrated on matters of popularity, the intricacies of a university\nsocial system and American Society as represented by Biltmore Teas and\nHot Springs golf-links.", "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "Amory Blaine inherited from his mother every trait, except the\nstray inexpressible few, that made him worth while. His father, an", "\"Yes,\" Amory interrupted, \"but I was just wishing. I wouldn't think of\nleaving college. It's just that I feel so sad these wonderful nights. I", "ALEC: So _that's_ where you all are! Amory Blaine is here.\n\nCECELIA: (Quickly) Take him down-stairs.", "\"She's been waitin' for Amory Blaine. That's you, ain't it? Her mother\nsays that if you showed up by five-thirty you two was to go after 'em in\nthe Packard.\"", "York during the term. I suppose they don't know what they miss, anyhow.\"\nThere was such an air of \"you and I\" about Mr. McDowell that Amory very", "So early in September Amory, provided with \"six suits summer underwear,\nsix suits winter underwear, one sweater or T shirt, one jersey, one\novercoat, winter, etc.,\" set out for New England, the land of schools.", "\"Well--Amory Blaine!\"\n\nAmory looked down into the street below. A low racing car had drawn to a\nstop and a familiar cheerful face protruded from the driver's seat.", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose." ], [ "Amory was quite moved. He put his arm around his mother, rubbing his\nhead gently against her shoulder.\n\n\"Poor Beatrice--poor Beatrice.\"", "\"Amory.\"\n\n\"Yes, Beatrice.\" (Such a quaint name for his mother; she encouraged it.)", "Amory had snickered.\n\n\"What, Amory?\"\n\n\"I said go on, Beatrice.\"", "BOOK ONE--The Romantic Egotist\n\n\n\nCHAPTER 1. Amory, Son of Beatrice", "1. The fundamental Amory.\n\n 2. Amory plus Beatrice.\n\n 3. Amory plus Beatrice plus Minneapolis.", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "\"Amory, dear,\" she crooned softly, \"I had such a strange, weird time\nafter I left you.\"\n\n\"Did you, Beatrice?\"", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "Amory's penetrating green eyes would look out through tangled hair at\nhis mother. Even at this age he had no illusions about her.\n\n\"Amory.\"\n\n\"Oh, _yes_.\"", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "It was not for several months that Beatrice wrote Amory the full\nsituation. The entire residue of the Blaine and O'Hara fortunes", "AMORY: Darling girl.\n\n(They kiss. Another pause and then she seizes his hand, covers it with\nkisses and holds it to her breast.)", "After the operation Beatrice had a nervous breakdown that bore a\nsuspicious resemblance to delirium tremens, and Amory was left in", "\"Name?\" he snapped.\n\nAmory gave his name and New York address.\n\n\"And the lady?\"\n\n\"Miss Jill--\"", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "changed as completely as Amory Blaine could ever be changed. Amory plus\nBeatrice plus two years in Minneapolis--these had been his ingredients", "Amory had ever set eyes on. Her pale mouth extended from ear to ear, her\nteeth projected in a solid wedge, and she had little, squinty eyes that" ], [ "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"Don't laugh at me, Amory. Just kiss me.\"\n\n\"I'll do what you want,\" he said.", "BOOK ONE--The Romantic Egotist\n\n\n\nCHAPTER 1. Amory, Son of Beatrice", "Within two weeks Amory and Rosalind were deeply and passionately in\nlove. The critical qualities which had spoiled for each of them a dozen\nromances were dulled by the great wave of emotion that washed over them.", "\"Hello!\" said Amory, blinking.\n\n\"I like you,\" she announced tenderly.\n\n\"I like you too.\"", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "ALEC: I did, but since seeing these girls--I don't know. I'm awfully\nattached to Amory. He's sensitive and I don't want him to break his\nheart over somebody who doesn't care about him.", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "\"_I_ care.\"\n\nSomething stirred within Amory.\n\n\"Oh, yes, you do! You got a crush on Froggy Parker. I guess everybody\nknows that.\"", "The same girl... deep in an atmosphere of jungle music and the\nquestioning of moral codes. Amory found it rather fascinating to feel\nthat any popular girl he met before eight he might quite possibly kiss\nbefore twelve.", "\"Fella I was with's a damn fool,\" confided the blue-eyed woman. \"I hate\nhim. I want to go home with you.\"\n\n\"You drunk?\" queried Amory with intense wisdom.", "\"Always, will you?\"\n\n\"All my life--Oh, Amory--\"\n\n\"What?\"", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "She appreciated this.\n\n\"You're awfully good at sizing people up.\"\n\nAmory denied this painfully. However, he sized up several people for\nher. Then they talked about hands.", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "she was the first fine woman he ever knew and one of the few good people\nwho ever interested him. She made her goodness such an asset. Amory\nhad decided that most good people either dragged theirs after them as a", "\"Oh!\" Amory gasped in horror. \"She wouldn't _think_ of marrying... that\nis, not now. I mean the future, you know.\"\n\n\"My girl would. I'm engaged.\"" ], [ "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "\"What are you going to do, Amory?\"\n\n\"Infantry or aviation, I can't make up my mind--I hate mechanics, but\nthen of course aviation's the thing for me--\"", "\"Well,\" Amory considered, \"I'm not sure that the war itself had any\ngreat effect on either you or me--but it certainly ruined the old\nbackgrounds, sort of killed individualism out of our generation.\"", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "For the second time in his life Amory had had a complete bouleversement\nand was hurrying into line with his generation.\n\n *****\n\nA LITTLE INTERLUDE", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "\"I think I'll sleep,\" Amory said calmly, resettling himself and reaching\nbeside the bed for a cigarette.\n\n\"Sleep!\"", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "Slowly and inevitably, yet with a sudden surge at the last, while Amory\ntalked and dreamed, war rolled swiftly up the beach and washed the sands", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "its atmosphere of bright colors and its alluring reputation as the\npleasantest country club in America. Dwarfed by the menacing college\nexams, Amory's school days drifted into the past. Years afterward, when", "\"Yes it did,\" insisted Amory. \"I'm not sure it didn't kill it out of the\nwhole world. Oh, Lord, what a pleasure it used to be to dream I might be", "\"Well?\"\n\n\"Good Lord, Amory, where'd you get the black eye--and the jaw?\"\n\nAmory laughed.\n\n\"That's a mere nothing.\"", "\"I'm going, Fred,\" said Amory slowly. His knees were shaking under him,\nand he knew that if he stayed another minute on this street he would", "\"Well--Amory Blaine!\"\n\nAmory looked down into the street below. A low racing car had drawn to a\nstop and a familiar cheerful face protruded from the driver's seat.", "The chauffeur swung open the door, and, climbing in, Amory settled\nhimself in the middle of the back seat. He took in his companions" ], [ "with a British officer who was introduced to him as \"Captain Corn, of\nhis Majesty's Foot,\" and he remembered attempting to recite \"Clair de", "\"That's from another, more disastrous battle,\" he answered, smiling in\nspite of himself. \"But the army--let me see--well, I discovered that", "A fierce hiss came from the little man.\n\n\"_Machine-guns!_\"\n\n\"Ah, but you've taught them their use.\"\n\nThe big man shook his head.", "\"Well, what impressed you more than anything while you were in the army?\nYou look a great deal older.\"", "\"Amory,\" he began. \"I've sent for you on a personal matter.\"\n\n\"Yes, sir.\"", "\"We were so happy,\" he intoned dramatically, \"so very happy.\" Then he\ngave way again and knelt beside the bed, his head half-buried in the\npillow.", "under. He had conformed, he had succeeded, but as his imagination was\nneither satisfied nor grasped by his own success, he had listlessly,\nhalf-accidentally chucked the whole thing and become again:", "He sighed eagerly. There at the head of the white platoon marched\nAllenby, the football captain, slim and defiant, as if aware that this", "The man made non-committal noises in his throat and passed on. Amory\nseated himself on an overturned boat and leaned forward thoughtfully\nuntil his chin rested in his hand.", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "Then he started, and his fingers trembled, for directly above was a\nlonger paragraph of which the first words were:", "Then the night came that was to be the last. Tom and Amory, bound in the\nmorning for different training-camps, paced the shadowy walks as usual\nand seemed still to see around them the faces of the men they knew.", "to him. A year before he might have laughed, or trembled; but in his\nrestless mood he only stood and listened while the words sank into his\nconsciousness:", "When he came to himself he knew that several hours had passed. He\npitched onto the bed and rolled over on his face with a deadly fear that", "His summoner received him gravely, and motioned him to a chair. He\nhemmed several times and looked consciously kind, as a man will when he\nknows he's on delicate ground.", "Physically.--Amory thought that he was exceedingly handsome. He was. He\nfancied himself an athlete of possibilities and a supple dancer.", "He was resentful against all those in authority over him, and this,\ncombined with a lazy indifference toward his work, exasperated every", "hand. That was all; for at the second that his decision came, he looked\nup and saw, ten yards from him, the man who had been in the cafe, and", "The first fact that flashed radiantly on his comprehension was the great\nimpersonality of sacrifice--he perceived that what we call love and", "the hopelessly lazy wrote to the obscure branches of the War Department,\nseeking an easy commission and a soft berth." ], [ "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "Amory fell in love again, and wrote a poem. This was it:", "Within two weeks Amory and Rosalind were deeply and passionately in\nlove. The critical qualities which had spoiled for each of them a dozen\nromances were dulled by the great wave of emotion that washed over them.", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "\"Hello!\" said Amory, blinking.\n\n\"I like you,\" she announced tenderly.\n\n\"I like you too.\"", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "\"Always, will you?\"\n\n\"All my life--Oh, Amory--\"\n\n\"What?\"", "lowered one long Sunday afternoon. Misty-eyed she stands and remembers;\nshe speaks aloud.) Oh, Amory, what have I done to you?", "\"Fella I was with's a damn fool,\" confided the blue-eyed woman. \"I hate\nhim. I want to go home with you.\"\n\n\"You drunk?\" queried Amory with intense wisdom.", "ALEC: I did, but since seeing these girls--I don't know. I'm awfully\nattached to Amory. He's sensitive and I don't want him to break his\nheart over somebody who doesn't care about him.", "Long afterward Amory thought of sophomore spring as the happiest time of\nhis life. His ideas were in tune with life as he found it; he wanted", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "\"Don't laugh at me, Amory. Just kiss me.\"\n\n\"I'll do what you want,\" he said.", "Don't misunderstand! Amory had loved Rosalind as he would never love\nanother living person. She had taken the first flush of his youth and", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"Oh!\" Amory gasped in horror. \"She wouldn't _think_ of marrying... that\nis, not now. I mean the future, you know.\"\n\n\"My girl would. I'm engaged.\"" ], [ "AMORY: And you love me.\n\nROSALIND: That's just why it has to end. Drifting hurts too much. We\ncan't have any more scenes like this.", "ROSALIND: (Brokenly) You'd better go.\n\nAMORY: Good-by--\n\n(She looks at him once more, with infinite longing, infinite sadness.)", "ROSALIND: (After another pause) I like him.\n\nAMORY: Don't say that. It hurts me.", "Then Rosalind began popping into his mind again, and he found his lips\nforming her name over and over. Next he was sleepy, and he had a hazy,", "CECELIA: Well, Rosalind has still to meet the man she can't outdistance.\nHonestly, Alec, she treats men terribly. She abuses them and cuts them", "ROSALIND: (Turning her lips up) Pretend.\n\n(Very deliberately they kiss.)\n\nAMORY: I can't say sweet things. But you _are_ beautiful.", "ROSALIND: (A hard note in her voice) You're being a baby now.\n\nAMORY: (Wildly) I don't care! You're spoiling our lives!", "ROSALIND: How did you know I was tired of Howard Gillespie?\n\nMRS. CONNAGE: The poor boy looks so miserable every time he comes.", "ROSALIND: No--no--I'm taking the hardest course, the strongest course.\nMarrying you would be a failure and I never fail--if you don't stop\nwalking up and down I'll scream!", "ROSALIND: (Taking his hand gently) You know I love you, don't you?\n\nAMORY: Yes.\n\nROSALIND: You know I'll always love you--", "ROSALIND: I love you--now.\n\n(They kiss.)\n\nAMORY: Oh, God, what have I done?", "ROSALIND is seated on the lounge and on her left is HOWARD GILLESPIE, a\nvapid youth of about twenty-four. He is obviously very unhappy, and she\nis quite bored.", "(Again she is blinded by sudden uncontrolled tears.)\n\nAMORY: Rosalind--", "ROSALIND: It's just--us. We're pitiful, that's all. The very qualities I\nlove you for are the ones that will always make you a failure.", "(ROSALIND fails to hear her, at least takes no notice.)", "ROSALIND: Not that.\n\nAMORY: What then?\n\nROSALIND: (Sadly) Oh, nothing--only I want sentiment, real\nsentiment--and I never find it.", "alone were left of all his love for Rosalind; these remained to him as\npayment for the loss of his youth--bitter calomel under the thin sugar\nof love's exaltation.", "ROSALIND: There's nothing to tell, I say. I'm just nervous.\n\nAMORY: Rosalind, you're playing with the idea of marrying Dawson Ryder.", "HE: Well--Rosalind, Rosalind, don't argue--kiss me again.\n\nSHE: (Quite chilly now) No--I have no desire to kiss you.", "RYDER: What?\n\nROSALIND: I wonder if you know you love me.\n\nRYDER: (Startled) What--Oh--you know you're remarkable!" ], [ "\"I tell you,\" Amory declared to Tom, \"he's the first contemporary I've\never met whom I'll admit is my superior in mental capacity.\"", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "\"Who's he?\" demanded the little man suspiciously.\n\n\"Well,\" said Amory, \"he's a--he's an intellectual personage not very\nwell known at present.\"", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "into fences, rolling in gutters, and pursuing his eccentric course out\nof Amory's life. Amory cried on his bed.", "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "He paused, and then saw for the first time Ferrenby's eyes, wearing a\nhungry look and watching him eagerly. Amory returned the gaze pointedly.\n\n\"Watch my face, gentlemen, for the primitive emotions.\"", "Amory's penetrating green eyes would look out through tangled hair at\nhis mother. Even at this age he had no illusions about her.\n\n\"Amory.\"\n\n\"Oh, _yes_.\"", "\"You consider you taught me that, don't you?\" he asked quizzically,\neying Amory in the half dark.\n\nAmory laughed quietly.\n\n\"Didn't I?\"", "\"So your mother says--a remarkable woman; have a cigarette--I'm sure\nyou smoke. Well, if you're like me, you loathe all science and\nmathematics--\"\n\nAmory nodded vehemently.", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "\"He comes here for a rest,\" said Monsignor confidentially, treating\nAmory as a contemporary. \"I act as an escape from the weariness of", "\"Well--Amory Blaine!\"\n\nAmory looked down into the street below. A low racing car had drawn to a\nstop and a familiar cheerful face protruded from the driver's seat.", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "\"Amory!\" an anxious whisper.\n\n\"What's the trouble?\"\n\n\"It's house detectives. My God, Amory--they're just looking for a\ntest-case--\"", "She appreciated this.\n\n\"You're awfully good at sizing people up.\"\n\nAmory denied this painfully. However, he sized up several people for\nher. Then they talked about hands.", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "\"Those poor birds who haven't a cent to tutor, and have to study during\nthe term are the ones I pity,\" he announced to Amory one day, with a", "themselves, and Amory's companion proved to be none other than \"that\nawful highbrow, Thomas Parke D'Invilliers,\" who signed the passionate" ], [ "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"Name?\" he snapped.\n\nAmory gave his name and New York address.\n\n\"And the lady?\"\n\n\"Miss Jill--\"", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "its atmosphere of bright colors and its alluring reputation as the\npleasantest country club in America. Dwarfed by the menacing college\nexams, Amory's school days drifted into the past. Years afterward, when", "Amory was alone--he had escaped from a small enclosure into a great\nlabyrinth. He was where Goethe was when he began \"Faust\"; he was where\nConrad was when he wrote \"Almayer's Folly.\"", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "Amory Blaine.\n\n *****", "Amory was bored, as he usually was in the country. He used to go for\nfar walks by himself--and wander along reciting \"Ulalume\" to the", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "into fences, rolling in gutters, and pursuing his eccentric course out\nof Amory's life. Amory cried on his bed.", "Miserable, confined to bounds, unpopular with both faculty and\nstudents--that was Amory's first term. But at Christmas he had returned\nto Minneapolis, tight-lipped and strangely jubilant.", "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "Amory, even had he not been a selfish man, would have started all\ninquiries with himself. He was his own best example--sitting in the", "connections by two hours, and, deciding to spend a few days with an\nancient, remembered uncle, Amory journeyed up through the luxuriant\nfields of Maryland into Ramilly County. But instead of two days his stay", "\"Amory, I have decided to let you have your way. If you still want to,\nyou can go to school.\"\n\n\"Yes?\"\n\n\"To St. Regis's in Connecticut.\"", "They played through vacation to the fashionable of eight cities. Amory\nliked Louisville and Memphis best: these knew how to meet strangers,", "This was the last night Amory ever saw Eleanor. He was leaving in the\nmorning and they had agreed to take a long farewell trot by the cold", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking." ], [ "Amory Blaine.\n\n *****", "\"You remember Amory Blaine, of _course_. Well, he's simply mad to\nsee you again. He's stayed over a day from college, and he's coming", "\"I want to go to Princeton,\" said Amory. \"I don't know why, but I think\nof all Harvard men as sissies, like I used to be, and all Yale men as\nwearing big blue sweaters and smoking pipes.\"", "its atmosphere of bright colors and its alluring reputation as the\npleasantest country club in America. Dwarfed by the menacing college\nexams, Amory's school days drifted into the past. Years afterward, when", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "might always be identified with him, was Amory Blaine. Amory marked\nhimself a fortunate youth, capable of infinite expansion for good or", "\"Yes,\" Amory interrupted, \"but I was just wishing. I wouldn't think of\nleaving college. It's just that I feel so sad these wonderful nights. I", "\"My name's Holiday.\"\n\n\"Blaine's my name.\"\n\nThey shook hands with the fashionable low swoop. Amory grinned.\n\n\"Where'd you prep?\"", "Miserable, confined to bounds, unpopular with both faculty and\nstudents--that was Amory's first term. But at Christmas he had returned\nto Minneapolis, tight-lipped and strangely jubilant.", "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "ALEC: So _that's_ where you all are! Amory Blaine is here.\n\nCECELIA: (Quickly) Take him down-stairs.", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "\"Imposition!\"\n\n\"Oh, at Princeton you've got to swallow everything the first year. It's\nlike a damned prep school.\"\n\nAmory agreed.", "But for the next four years the best of Amory's intellect was\nconcentrated on matters of popularity, the intricacies of a university\nsocial system and American Society as represented by Biltmore Teas and\nHot Springs golf-links.", "\"Well--Amory Blaine!\"\n\nAmory looked down into the street below. A low racing car had drawn to a\nstop and a familiar cheerful face protruded from the driver's seat.", "York during the term. I suppose they don't know what they miss, anyhow.\"\nThere was such an air of \"you and I\" about Mr. McDowell that Amory very", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "So early in September Amory, provided with \"six suits summer underwear,\nsix suits winter underwear, one sweater or T shirt, one jersey, one\novercoat, winter, etc.,\" set out for New England, the land of schools.", "\"She's been waitin' for Amory Blaine. That's you, ain't it? Her mother\nsays that if you showed up by five-thirty you two was to go after 'em in\nthe Packard.\"", "Amory Blaine inherited from his mother every trait, except the\nstray inexpressible few, that made him worth while. His father, an" ], [ "When the disbanding came, Amory set out post haste for Minneapolis, for\nSally Weatherby's cousin, Isabelle Borge, was coming to spend the winter", "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "There was a stir, and Sally led the way over to their table. Amory\nstruggled to Isabelle's side, and whispered:\n\n\"You're my dinner partner, you know. We're all coached for each other.\"", "All through the spring Amory had kept up an intermittent correspondence\nwith Isabelle Borge, punctuated by violent squabbles and chiefly", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "\"Oh--what?\" Isabelle's face was a study in enraptured curiosity.\n\nAmory shook his head.\n\n\"I don't know you very well yet.\"", "It delighted Amory when Isabelle suggested that they leave for a while\nand drive around in her car. For a delicious hour that passed too soon", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "BOOK ONE--The Romantic Egotist\n\n\n\nCHAPTER 1. Amory, Son of Beatrice", "she was the first fine woman he ever knew and one of the few good people\nwho ever interested him. She made her goodness such an asset. Amory\nhad decided that most good people either dragged theirs after them as a", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "in Minneapolis while her parents went abroad. He remembered Isabelle\nonly as a little girl with whom he had played sometimes when he first\nwent to Minneapolis. She had gone to Baltimore to live--but since then", "\"She's been waitin' for Amory Blaine. That's you, ain't it? Her mother\nsays that if you showed up by five-thirty you two was to go after 'em in\nthe Packard.\"", "But Amory sighed and made use of the nights. He had a snap-shot of\nIsabelle, enshrined in an old watch, and at eight almost every night he", "Then at six they arrived at the Borges' summer place on Long Island, and\nAmory rushed up-stairs to change into a dinner coat. As he put in his", "themselves, and Amory's companion proved to be none other than \"that\nawful highbrow, Thomas Parke D'Invilliers,\" who signed the passionate", "\"Hello!\" said Amory, blinking.\n\n\"I like you,\" she announced tenderly.\n\n\"I like you too.\"" ], [ "\"You'll meet me again--silly.\" There was just the slightest emphasis\non the last word--so that it became almost a term of endearment. He\ncontinued a bit huskily:", "\"Maybe we'll never meet again like this--I have darned hard luck\nsometimes.\" He was leaning away from her on the other arm of the lounge,\nbut she could see his eyes plainly in the dark.", "They reassembled later by the Casino and made arrangements for the\nnight. Kerry wormed permission from the watchman to sleep on the", "\"Isabelle!\" he cried, half involuntarily, and held out his arms. As in\nthe story-books, she ran into them, and on that half-minute, as their", "They were formally introduced two days later, and his aunt told him her\nhistory. The Ramillys were two: old Mr. Ramilly and his granddaughter,", "\"Will you tell me--afterward?\" she half whispered.\n\nHe nodded.\n\n\"We'll sit out.\"\n\nIsabelle nodded.", "(Their eyes meet for a second and then she begins to cry--a tearless\nsobbing.)\n\nAMORY: Rosalind!", "Blaine figured somewhere, but at first she could not place him. A\nvery confused, very juvenile moment of awkward backings and bumpings\nfollowed, and every one found himself talking to the person he least", "Four days after that he returned at last to the apartment. Tom was\nengaged on a book review for The New Democracy on the staff of which he\nwas employed. They regarded each other for a moment in silence.\n\n\"Well?\"", "souls never to meet. Was it the infinite sadness of her eyes that drew\nhim or the mirror of himself that he found in the gorgeous clarity of", "They were together constantly, for lunch, for dinner, and nearly every\nevening--always in a sort of breathless hush, as if they feared that any", "There was another moment while they stared at each other. Then Amory\nwent briskly to the bureau and, taking his pocket-book, beckoned", "(He kisses her again with the same thoroughness.)\n\nSHE: (Rather moved) Say something sweet.\n\nHE: (Frightened) Lord help me.", "\"Kiss me again.\" Her voice came out of a great void.\n\n\"I don't want to,\" he heard himself saying. There was another pause.", "(He kisses her again.)\n\n *****\n\nKISMET", "Amory called a greeting and descending a flight of wooden steps\napproached the car. He and Alec had been meeting intermittently, but the", "good night, but she could not run into his arms, nor were they stretched\nto meet her as in the week before. For a minute they stood there, hating", "Then the night came that was to be the last. Tom and Amory, bound in the\nmorning for different training-camps, paced the shadowy walks as usual\nand seemed still to see around them the faces of the men they knew.", "would enjoy the encounter tremendously. They didn't seem to be noticing,\nso he let himself go, discussed books by the dozens--books he had read,", "The clubs had their annual dinners that night, so at seven he loaned her\nto a freshman and arranged to meet her in the gymnasium at eleven, when" ], [ "Within two weeks Amory and Rosalind were deeply and passionately in\nlove. The critical qualities which had spoiled for each of them a dozen\nromances were dulled by the great wave of emotion that washed over them.", "Within a week after the receipt of this letter their little household\nfell precipitously to pieces. The immediate cause was the serious and", "over her, dropped it deliberately on the floor. Their hands touched for\nan instant, but neither spoke. Silences were becoming more frequent\nand more delicious. Outside another stray couple had come up and were", "All the way back she talked haltingly about herself, and Amory's love\nwaned slowly with the moon. At her door they started from habit to kiss", "good night, but she could not run into his arms, nor were they stretched\nto meet her as in the week before. For a minute they stood there, hating", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "\"The despairing, dying autumn and our love--how well they harmonize!\"\nsaid Eleanor sadly one day as they lay dripping by the water.\n\n\"The Indian summer of our hearts--\" he ceased.", "It was evidently over. There was a clamor for a dance, there was a\nglance that passed between them--on his side despair, on hers regret,\nand then the evening went on, with the reassured beaux and the eternal\ncutting in.", "This was the last night Amory ever saw Eleanor. He was leaving in the\nmorning and they had agreed to take a long farewell trot by the cold", "Amory fell in love again, and wrote a poem. This was it:", "They slowly descended from their perch. She would not let him help her\ndown and motioning him away arrived in a graceful lump in the soft mud", "They seemed nearer, not only mentally, but physically, when they read,\nthan when she was in his arms, and this was often, for they fell half", "places beside his heart. The night when they rode up the slope and\nwatched the cold moon float through the clouds, he lost a further part\nof him that nothing could restore; and when he lost it he lost also the", "(He kisses her again with the same thoroughness.)\n\nSHE: (Rather moved) Say something sweet.\n\nHE: (Frightened) Lord help me.", "unhappily why all the color and ambition of the spring before had faded\nout. Somehow, with the defection of Isabelle the idea of undergraduate", "guests stared at them curiously; the loudly dressed girl with bent head,\nthe handsome young man with his chin several points aloft; the inference\nwas quite obvious. Then the chill outdoors--where the salt air was", "They were together constantly, for lunch, for dinner, and nearly every\nevening--always in a sort of breathless hush, as if they feared that any", "(She draws his ring from her finger and hands it to him. Their eyes\nblind again with tears.)", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "They walked along, and he realized slowly how much she had told him...\nnever in love.... She seemed suddenly a daughter of light alone. His" ], [ "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "All through the spring Amory had kept up an intermittent correspondence\nwith Isabelle Borge, punctuated by violent squabbles and chiefly", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "But Amory sighed and made use of the nights. He had a snap-shot of\nIsabelle, enshrined in an old watch, and at eight almost every night he", "There was a stir, and Sally led the way over to their table. Amory\nstruggled to Isabelle's side, and whispered:\n\n\"You're my dinner partner, you know. We're all coached for each other.\"", "\"Oh--what?\" Isabelle's face was a study in enraptured curiosity.\n\nAmory shook his head.\n\n\"I don't know you very well yet.\"", "It delighted Amory when Isabelle suggested that they leave for a while\nand drive around in her car. For a delicious hour that passed too soon", "There was another moment while they stared at each other. Then Amory\nwent briskly to the bureau and, taking his pocket-book, beckoned", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "She appreciated this.\n\n\"You're awfully good at sizing people up.\"\n\nAmory denied this painfully. However, he sized up several people for\nher. Then they talked about hands.", "knew from the change in his manner what was coming--indeed, she had been\nwondering how soon it would come. Amory reached above their heads and", "When the disbanding came, Amory set out post haste for Minneapolis, for\nSally Weatherby's cousin, Isabelle Borge, was coming to spend the winter", "Amory's penetrating green eyes would look out through tangled hair at\nhis mother. Even at this age he had no illusions about her.\n\n\"Amory.\"\n\n\"Oh, _yes_.\"", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "A silence, while Amory thrilled. There was something fascinating about\nMyra, shut away here cosily from the dim, chill air. Myra, a little\nbundle of clothes, with strands of yellow hair curling out from under\nher skating cap.", "along the cushions and moved constantly with little jerky openings and\nclosings. Then, suddenly, Amory perceived the feet, and with a rush of", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "She looked left and right, she slipped cautiously into a speed of two\nmiles an hour, beseeching Amory to act as sentinel; and at one busy", "read into her; that this was her high point, that no one else would ever\nmake her think. Yet that was what she had objected to in him; and Amory\nwas suddenly tired of thinking, thinking!" ], [ "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "\"He comes here for a rest,\" said Monsignor confidentially, treating\nAmory as a contemporary. \"I act as an escape from the weariness of", "Of Amory's attempted sacrifice had been born merely the full realization\nof his disillusion, but of Monsignor's funeral was born the romantic", "\"Amory will go to him one day, I know,\" breathed the beautiful lady,\n\"and Monsignor Darcy will understand him as he understood me.\"", "A letter dated January, 1918, written by Monsignor Darcy to Amory, who\nis a second lieutenant in the 171st Infantry, Port of Embarkation, Camp\nMills, Long Island.", "Amory kept thinking how Monsignor would have enjoyed his own funeral.\nIt was magnificently Catholic and liturgical. Bishop O'Neill sang solemn", "Monsignor made quite as much out of \"The Beloved Vagabond\" and \"Sir\nNigel,\" taking good care that Amory never once felt out of his depth.", "along the cushions and moved constantly with little jerky openings and\nclosings. Then, suddenly, Amory perceived the feet, and with a rush of", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "fire. Monsignor was growing a trifle stouter and his personality had\nexpanded even with that, and Amory felt both rest and security in", "Amory talked; he went thoroughly into the destruction of his egotistic\nhighways, and in a half-hour the listless quality had left his voice.\n\n\"What would you do if you left college?\" asked Monsignor.", "\"Oh, no,\" Amory protested. \"He worked too hard for that. I imagine that\nwhen he died he was a broken-down man--and the great saints haven't been\nstrong.\"\n\n\"Half of them have.\"", "charm. Monsignor called out the best that he had thought by question and\nsuggestion, and Amory talked with an ingenious brilliance of a thousand", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "This was the last night Amory ever saw Eleanor. He was leaving in the\nmorning and they had agreed to take a long farewell trot by the cold", "There was another moment while they stared at each other. Then Amory\nwent briskly to the bureau and, taking his pocket-book, beckoned", "As February became slashed by sun and moved cheerfully into March,\nAmory went several times to spend week-ends with Monsignor; once he", "Feeling very much alone, Amory yielded to an impulse and set off\nsouthward, intending to join Monsignor in Washington. They missed" ], [ "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "\"Well,\" Amory considered, \"I'm not sure that the war itself had any\ngreat effect on either you or me--but it certainly ruined the old\nbackgrounds, sort of killed individualism out of our generation.\"", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"What are you going to do, Amory?\"\n\n\"Infantry or aviation, I can't make up my mind--I hate mechanics, but\nthen of course aviation's the thing for me--\"", "\"Yes it did,\" insisted Amory. \"I'm not sure it didn't kill it out of the\nwhole world. Oh, Lord, what a pleasure it used to be to dream I might be", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "For the second time in his life Amory had had a complete bouleversement\nand was hurrying into line with his generation.\n\n *****\n\nA LITTLE INTERLUDE", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "\"I think I'll sleep,\" Amory said calmly, resettling himself and reaching\nbeside the bed for a cigarette.\n\n\"Sleep!\"", "Slowly and inevitably, yet with a sudden surge at the last, while Amory\ntalked and dreamed, war rolled swiftly up the beach and washed the sands", "\"I'm going, Fred,\" said Amory slowly. His knees were shaking under him,\nand he knew that if he stayed another minute on this street he would", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "*****\n\nTOM THE CENSOR\n\nThere were days when Amory listened. These were when Tom, wreathed in\nsmoke, indulged in the slaughter of American literature. Words failed\nhim.", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "taken his own life--years afterward the facts had come out. At the time\nthe story had both puzzled and worried Amory. Now he realized the truth;", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "\"Amory,\" said Alec exuberantly, \"if you'll jump in we'll take you to\nsome secluded nook and give you a wee jolt of Bourbon.\"\n\nAmory considered." ], [ "\"What are you going to do, Amory?\"\n\n\"Infantry or aviation, I can't make up my mind--I hate mechanics, but\nthen of course aviation's the thing for me--\"", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"Have you a trade?\"\n\nNo--Amory had no trade.\n\n\"Clerk, eh?\"\n\nNo--Amory was not a clerk.", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "\"Amory,\" he began. \"I've sent for you on a personal matter.\"\n\n\"Yes, sir.\"", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "\"Name?\" he snapped.\n\nAmory gave his name and New York address.\n\n\"And the lady?\"\n\n\"Miss Jill--\"", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "along the cushions and moved constantly with little jerky openings and\nclosings. Then, suddenly, Amory perceived the feet, and with a rush of", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "The chauffeur swung open the door, and, climbing in, Amory settled\nhimself in the middle of the back seat. He took in his companions", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "\"Yes it did,\" insisted Amory. \"I'm not sure it didn't kill it out of the\nwhole world. Oh, Lord, what a pleasure it used to be to dream I might be", "\"Well,\" said Amory, \"if being an idealist is both safe and lucrative, I\nmight try it.\"\n\n\"What's your difficulty? Lost your job?\"", "might always be identified with him, was Amory Blaine. Amory marked\nhimself a fortunate youth, capable of infinite expansion for good or" ], [ "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "\"You're a nervous strain\"--this emphatically--\"and when you analyze\nevery little emotion and instinct I just don't have 'em.\"\n\n\"I know.\" Amory admitted her point and shook his head helplessly.", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "ROSALIND: Amory, I'm yours--you know it. There have been times in the\nlast month I'd have been completely yours if you'd said so. But I can't\nmarry you and ruin both our lives.", "\"Oh, shut up!\" she cried suddenly, and fled down the hallway toward her\nroom. Amory stood there, covered with remorseful confusion.\n\n\"Damn!\"", "\"Don't laugh at me, Amory. Just kiss me.\"\n\n\"I'll do what you want,\" he said.", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "\"None that stuff!\"\n\n\"But listen, Amory, you're making yourself sick. You're white as a\nghost.\"", "\"You see, Amory, we're Marxian Socialists,\" explained Kerry. \"We don't\nbelieve in property and we're putting it to the great test.\"\n\n\"Night will descend,\" Amory suggested.", "This was the last night Amory ever saw Eleanor. He was leaving in the\nmorning and they had agreed to take a long farewell trot by the cold", "\"Play at St. Regis's?\"\n\n\"Some,\" admitted Amory depreciatingly, \"but I'm getting so damned thin.\"\n\n\"You're not thin.\"", "\"We're awful,\" rejoiced Myra gently. She slipped her hand into his,\nher head drooped against his shoulder. Sudden revulsion seized Amory,", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "\"Shut up!\" cried Amory at Olson.\n\nAn instant's pause.\n\n\"Stella Robbins,\" she faltered finally. \"General Delivery, Rugway, New\nHampshire.\"", "\"It's not all rubbish,\" cried Amory passionately. \"This is the first\ntime in my life I've argued Socialism. It's the only panacea I know. I'm", "read into her; that this was her high point, that no one else would ever\nmake her think. Yet that was what she had objected to in him; and Amory\nwas suddenly tired of thinking, thinking!" ], [ "\"I tell you,\" Amory declared to Tom, \"he's the first contemporary I've\never met whom I'll admit is my superior in mental capacity.\"", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "she was the first fine woman he ever knew and one of the few good people\nwho ever interested him. She made her goodness such an asset. Amory\nhad decided that most good people either dragged theirs after them as a", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "\"You know, don't you? Oh, you know.\"\n\n\"Yes, but I want to hear you say it.\"\n\n\"I love you, Amory, with all my heart.\"", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "\"Who's he?\" demanded the little man suspiciously.\n\n\"Well,\" said Amory, \"he's a--he's an intellectual personage not very\nwell known at present.\"", "\"I know,\" Amory interrupted, \"I've heard it all. But I'm not going to\ntalk propaganda with you. There's a chance that you're right--but even", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "\"_I_ care.\"\n\nSomething stirred within Amory.\n\n\"Oh, yes, you do! You got a crush on Froggy Parker. I guess everybody\nknows that.\"", "Amory Blaine inherited from his mother every trait, except the\nstray inexpressible few, that made him worth while. His father, an", "\"Tell that to somebody else,\" scoffed Amory. \"You know you're perfectly\neffulgent.\" He asked her the one thing that he knew might embarrass her.\nIt was the remark that the first bore made to Adam.", "Amory's penetrating green eyes would look out through tangled hair at\nhis mother. Even at this age he had no illusions about her.\n\n\"Amory.\"\n\n\"Oh, _yes_.\"", "Amory, even had he not been a selfish man, would have started all\ninquiries with himself. He was his own best example--sitting in the", "\"Have you a trade?\"\n\nNo--Amory had no trade.\n\n\"Clerk, eh?\"\n\nNo--Amory was not a clerk.", "\"It's not all rubbish,\" cried Amory passionately. \"This is the first\ntime in my life I've argued Socialism. It's the only panacea I know. I'm", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "\"But,\" continued the butler, his voice rising unnecessarily, \"she's the\nonly one what _is_ here. The party's gone.\"\n\nAmory gasped in sudden horror." ], [ "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "\"I want to go to Princeton,\" said Amory. \"I don't know why, but I think\nof all Harvard men as sissies, like I used to be, and all Yale men as\nwearing big blue sweaters and smoking pipes.\"", "Miserable, confined to bounds, unpopular with both faculty and\nstudents--that was Amory's first term. But at Christmas he had returned\nto Minneapolis, tight-lipped and strangely jubilant.", "its atmosphere of bright colors and its alluring reputation as the\npleasantest country club in America. Dwarfed by the menacing college\nexams, Amory's school days drifted into the past. Years afterward, when", "But for the next four years the best of Amory's intellect was\nconcentrated on matters of popularity, the intricacies of a university\nsocial system and American Society as represented by Biltmore Teas and\nHot Springs golf-links.", "\"Yes,\" Amory interrupted, \"but I was just wishing. I wouldn't think of\nleaving college. It's just that I feel so sad these wonderful nights. I", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "So early in September Amory, provided with \"six suits summer underwear,\nsix suits winter underwear, one sweater or T shirt, one jersey, one\novercoat, winter, etc.,\" set out for New England, the land of schools.", "York during the term. I suppose they don't know what they miss, anyhow.\"\nThere was such an air of \"you and I\" about Mr. McDowell that Amory very", "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "\"Imposition!\"\n\n\"Oh, at Princeton you've got to swallow everything the first year. It's\nlike a damned prep school.\"\n\nAmory agreed.", "\"Amory, I have decided to let you have your way. If you still want to,\nyou can go to school.\"\n\n\"Yes?\"\n\n\"To St. Regis's in Connecticut.\"", "Amory Blaine.\n\n *****", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "Amory was far from contented. He missed the place he had won at St.\nRegis', the being known and admired, yet Princeton stimulated him, and", "Amory, by way of the Princetonian, had arrived. The minor snobs, finely\nbalanced thermometers of success, warmed to him as the club elections", "might always be identified with him, was Amory Blaine. Amory marked\nhimself a fortunate youth, capable of infinite expansion for good or", "\"You remember Amory Blaine, of _course_. Well, he's simply mad to\nsee you again. He's stayed over a day from college, and he's coming", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "into fences, rolling in gutters, and pursuing his eccentric course out\nof Amory's life. Amory cried on his bed." ], [ "BOOK ONE--The Romantic Egotist\n\n\n\nCHAPTER 1. Amory, Son of Beatrice", "\"Amory.\"\n\n\"Yes, Beatrice.\" (Such a quaint name for his mother; she encouraged it.)", "Amory was quite moved. He put his arm around his mother, rubbing his\nhead gently against her shoulder.\n\n\"Poor Beatrice--poor Beatrice.\"", "Amory had snickered.\n\n\"What, Amory?\"\n\n\"I said go on, Beatrice.\"", "\"Amory, dear,\" she crooned softly, \"I had such a strange, weird time\nafter I left you.\"\n\n\"Did you, Beatrice?\"", "After the operation Beatrice had a nervous breakdown that bore a\nsuspicious resemblance to delirium tremens, and Amory was left in", "one of the shadowy paths that Beatrice at last captured Amory, after Mr.\nBlaine had, as usual, retired for the evening to his private library.", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "changed as completely as Amory Blaine could ever be changed. Amory plus\nBeatrice plus two years in Minneapolis--these had been his ingredients", "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "It was not for several months that Beatrice wrote Amory the full\nsituation. The entire residue of the Blaine and O'Hara fortunes", "Amory's penetrating green eyes would look out through tangled hair at\nhis mother. Even at this age he had no illusions about her.\n\n\"Amory.\"\n\n\"Oh, _yes_.\"", "creature of delightful originality. At first this quality of hers\nsomehow irritated Amory. He considered his own uniqueness sufficient,\nand it rather embarrassed him when she tried to read new interests into", "1. The fundamental Amory.\n\n 2. Amory plus Beatrice.\n\n 3. Amory plus Beatrice plus Minneapolis.", "lowered one long Sunday afternoon. Misty-eyed she stands and remembers;\nshe speaks aloud.) Oh, Amory, what have I done to you?", "Thornton Hancock, and once or twice to the house of a Mrs. Lawrence, a\ntype of Rome-haunting American whom Amory liked immediately.", "Mrs. Lawrence laughed. Amory was finding it a great relief to be in this\ncool house on Riverside Drive, away from more condensed New York and", "\"She's been waitin' for Amory Blaine. That's you, ain't it? Her mother\nsays that if you showed up by five-thirty you two was to go after 'em in\nthe Packard.\"" ], [ "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "There was a stir, and Sally led the way over to their table. Amory\nstruggled to Isabelle's side, and whispered:\n\n\"You're my dinner partner, you know. We're all coached for each other.\"", "But Amory sighed and made use of the nights. He had a snap-shot of\nIsabelle, enshrined in an old watch, and at eight almost every night he", "It delighted Amory when Isabelle suggested that they leave for a while\nand drive around in her car. For a delicious hour that passed too soon", "All through the spring Amory had kept up an intermittent correspondence\nwith Isabelle Borge, punctuated by violent squabbles and chiefly", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "\"Over to the Prince office to see Ferrenby,\" he waved a copy of the\nmorning's Princetonian at Amory. \"He wrote this editorial.\"\n\n\"Going to flay him alive?\"", "\"Oh--what?\" Isabelle's face was a study in enraptured curiosity.\n\nAmory shook his head.\n\n\"I don't know you very well yet.\"", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "\"I want to go to Princeton,\" said Amory. \"I don't know why, but I think\nof all Harvard men as sissies, like I used to be, and all Yale men as\nwearing big blue sweaters and smoking pipes.\"", "\"Here's a poem to the Victorians, sir,\" he said coldly.\n\nThe professor picked it up curiously while Amory backed rapidly through\nthe door.\n\nHere is what he had written:", "into love almost from the first. Yet was Amory capable of love now?\nHe could, as always, run through the emotions in a half hour, but even\nwhile they revelled in their imaginations, he knew that neither of them", "they glided the silent roads about Princeton and talked from the surface\nof their hearts in shy excitement. Amory felt strangely ingenuous and\nmade no attempt to kiss her.", "Tom produced a folded paper from his pocket and read aloud, pausing at\nintervals so that Amory could see that it was free verse:", "lowered one long Sunday afternoon. Misty-eyed she stands and remembers;\nshe speaks aloud.) Oh, Amory, what have I done to you?", "scribbled Amory in his note-book. The lecturer was saying something\nabout Tennyson's solidity and fifty heads were bent to take notes. Amory\nturned over to a fresh page and began scrawling again.", "At last Amory had it. He turned over another page and scrawled\nvigorously for the twenty minutes that was left of the hour. Then he\nwalked up to the desk and deposited a page torn out of his note-book.", "Amory fell in love again, and wrote a poem. This was it:", "\"Imposition!\"\n\n\"Oh, at Princeton you've got to swallow everything the first year. It's\nlike a damned prep school.\"\n\nAmory agreed.", "She appreciated this.\n\n\"You're awfully good at sizing people up.\"\n\nAmory denied this painfully. However, he sized up several people for\nher. Then they talked about hands." ], [ "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "Afterward they suppered on ginger ale and devil's food in the pantry,\nand Amory announced a decision.\n\n\"I'm leaving early in the morning.\"\n\n\"Why?\"", "\"I'm going, Fred,\" said Amory slowly. His knees were shaking under him,\nand he knew that if he stayed another minute on this street he would", "\"I want to go to Princeton,\" said Amory. \"I don't know why, but I think\nof all Harvard men as sissies, like I used to be, and all Yale men as\nwearing big blue sweaters and smoking pipes.\"", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "into fences, rolling in gutters, and pursuing his eccentric course out\nof Amory's life. Amory cried on his bed.", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "\"Come on,\" said Amory briskly. \"Let's get out of here. We don't need a\nvaledictory.\"", "Amory was alone--he had escaped from a small enclosure into a great\nlabyrinth. He was where Goethe was when he began \"Faust\"; he was where\nConrad was when he wrote \"Almayer's Folly.\"", "\"Well, Alec has left. His family had been after him to go home and live,\nso he--\"\n\nA spasm of pain shook Amory.\n\n\"Too bad.\"", "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "There was another moment while they stared at each other. Then Amory\nwent briskly to the bureau and, taking his pocket-book, beckoned", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "\"He comes here for a rest,\" said Monsignor confidentially, treating\nAmory as a contemporary. \"I act as an escape from the weariness of", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "Amory avoided the question. Indeed, he had had no definite reason for\ncoming to the coast.\n\n\"Do you remember that party of ours, sophomore year?\" he asked instead.", "taken his own life--years afterward the facts had come out. At the time\nthe story had both puzzled and worried Amory. Now he realized the truth;", "\"Oh, Lord!\" cried Amory.\n\n\"Let's go!\"\n\n\"Come on, the taxis are getting scarce!\"\n\n\"Check, waiter.\"", "\"Amory,\" said Alec exuberantly, \"if you'll jump in we'll take you to\nsome secluded nook and give you a wee jolt of Bourbon.\"\n\nAmory considered." ], [ "Slowly and inevitably, yet with a sudden surge at the last, while Amory\ntalked and dreamed, war rolled swiftly up the beach and washed the sands", "\"That's from another, more disastrous battle,\" he answered, smiling in\nspite of himself. \"But the army--let me see--well, I discovered that", "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "The war began in the summer following his freshman year. Beyond a\nsporting interest in the German dash for Paris the whole affair failed", "from this Victorian war, were the heirs of progress. Waving aside petty\ndifferences of conclusions which, although they might occasionally\ncause the deaths of several millions of young men, might be explained", "Then the night came that was to be the last. Tom and Amory, bound in the\nmorning for different training-camps, paced the shadowy walks as usual\nand seemed still to see around them the faces of the men they knew.", "head spinning gorgeously, layer upon layer of soft satisfaction setting\nover the bruised spots of his spirit, was discoursing volubly on the\nwar.", "\"Poor Butterfly\" had been the song of that last year. The war seemed\nscarcely to touch them and it might have been one of the senior springs", "At noon he ran into a crowd in the Biltmore bar, and the riot began\nagain. He had a vague recollection afterward of discussing French poetry", "The only alternative to letting it get you is some violent interest.\nWell, the war is over; I believe too much in the responsibilities of\nauthorship to write just now; and business, well, business speaks for", "Within a week after the receipt of this letter their little household\nfell precipitously to pieces. The immediate cause was the serious and", "now, made him think of a wild battle between St. Regis and Groton,\nages ago, seven years ago--and of an autumn day in France twelve months", "with a British officer who was introduced to him as \"Captain Corn, of\nhis Majesty's Foot,\" and he remembered attempting to recite \"Clair de", "Somehow Amory's dissatisfaction with his lack of enthusiasm culminated\nin an attempt to put the blame for the whole war on the ancestors of his", "\"From everybody--for all the years since you've been away.\" She blushed\nappropriately. On her right Froggy was _hors de combat_ already,\nalthough he hadn't quite realized it.", "\"You Princeton boys?\"\n\n\"Yes.\"\n\n\"Well, there's one of you killed here, and two others about dead.\"\n\n\"_My God!_\"", "War Orphans which netted a dollar and twenty cents, and with this they\nbought some brandy in case they caught cold in the night. They finished", "\"Well,\" Amory considered, \"I'm not sure that the war itself had any\ngreat effect on either you or me--but it certainly ruined the old\nbackgrounds, sort of killed individualism out of our generation.\"", "A fierce hiss came from the little man.\n\n\"_Machine-guns!_\"\n\n\"Ah, but you've taught them their use.\"\n\nThe big man shook his head.", "\"I'm going, Fred,\" said Amory slowly. His knees were shaking under him,\nand he knew that if he stayed another minute on this street he would" ], [ "\"What are you going to do, Amory?\"\n\n\"Infantry or aviation, I can't make up my mind--I hate mechanics, but\nthen of course aviation's the thing for me--\"", "\"No,\" said Amory. \"I'm quitting.\"\n\n\"Well--well--this is--\"\n\n\"I don't like it here.\"", "The little man made an attempt to smile and act as if the whole matter\nwere so ridiculous as to be beneath notice. But Amory was not through.", "\"Have you a trade?\"\n\nNo--Amory had no trade.\n\n\"Clerk, eh?\"\n\nNo--Amory was not a clerk.", "Amory was enjoying college immensely again. The sense of going forward\nin a direct, determined line had come back; youth was stirring and\nshaking out a few new feathers. He had even stored enough surplus energy\nto sally into a new pose.", "itself, resolved slowly into a human shape. But Amory was beyond that\nnow; he turned off the street and darted into an alley, narrow and", "along the cushions and moved constantly with little jerky openings and\nclosings. Then, suddenly, Amory perceived the feet, and with a rush of", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "The chauffeur swung open the door, and, climbing in, Amory settled\nhimself in the middle of the back seat. He took in his companions", "\"Well, Amory...\"\n\nIt was some one he had known at Princeton; he had no idea of the name.\n\n\"Hello, old boy--\" he heard himself saying.", "\"I think I'll sleep,\" Amory said calmly, resettling himself and reaching\nbeside the bed for a cigarette.\n\n\"Sleep!\"", "\"But just now, Amory, you're only a sweaty bourgeois.\"\n\nAmory lay for a moment without speaking.", "\"Yes it did,\" insisted Amory. \"I'm not sure it didn't kill it out of the\nwhole world. Oh, Lord, what a pleasure it used to be to dream I might be", "\"Well,\" said Amory, \"if being an idealist is both safe and lucrative, I\nmight try it.\"\n\n\"What's your difficulty? Lost your job?\"", "\"Yes,\" said Amory speculatively, \"but I'm more than bored; I am\nrestless.\"\n\n\"Love and war did for you.\"", "\"Amory!\" an anxious whisper.\n\n\"What's the trouble?\"\n\n\"It's house detectives. My God, Amory--they're just looking for a\ntest-case--\"", "\"Name?\" he snapped.\n\nAmory gave his name and New York address.\n\n\"And the lady?\"\n\n\"Miss Jill--\"", "Amory was now eighteen years old, just under six feet tall and\nexceptionally, but not conventionally, handsome. He had rather a young", "\"Amory,\" said Alec exuberantly, \"if you'll jump in we'll take you to\nsome secluded nook and give you a wee jolt of Bourbon.\"\n\nAmory considered." ], [ "AMORY: And you love me.\n\nROSALIND: That's just why it has to end. Drifting hurts too much. We\ncan't have any more scenes like this.", "ROSALIND: (Brokenly) You'd better go.\n\nAMORY: Good-by--\n\n(She looks at him once more, with infinite longing, infinite sadness.)", "ROSALIND: Amory, I'm yours--you know it. There have been times in the\nlast month I'd have been completely yours if you'd said so. But I can't\nmarry you and ruin both our lives.", "ROSALIND: (After another pause) I like him.\n\nAMORY: Don't say that. It hurts me.", "Within two weeks Amory and Rosalind were deeply and passionately in\nlove. The critical qualities which had spoiled for each of them a dozen\nromances were dulled by the great wave of emotion that washed over them.", "ROSALIND: (A hard note in her voice) You're being a baby now.\n\nAMORY: (Wildly) I don't care! You're spoiling our lives!", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "AMORY: You don't love him.\n\nROSALIND: I know, but I respect him, and he's a good man and a strong\none.", "ROSALIND: (Taking his hand gently) You know I love you, don't you?\n\nAMORY: Yes.\n\nROSALIND: You know I'll always love you--", "(He looks at her.)\n\nAMORY: Well?\n\nROSALIND: Well?\n\nAMORY: (Softly--the battle lost) I love you.", "ROSALIND: Don't ever forget me, Amory--\n\nAMORY: Good-by--", "Don't misunderstand! Amory had loved Rosalind as he would never love\nanother living person. She had taken the first flush of his youth and", "ROSALIND: Amory, if you don't sit down I'll scream.\n\nAMORY: (Sitting down suddenly beside her) Oh, Lord.", "AMORY: (In despair) Rosalind! Rosalind!\n\nROSALIND: (With a faint roguishness) Don't look so consciously\nsuffering.", "AMORY: (Quickly) Rosalind, let's get married--next week.\n\nROSALIND: We can't.\n\nAMORY: Why not?", "ROSALIND: Oh, we're so darned pitiful!\n\nAMORY: Rosalind!\n\nROSALIND: Oh, I want to die!", "AMORY: Rosalind, you _can't_ be thinking of marrying some one else. Tell\nme! You leave me in the dark. I can help you fight it out if you'll only\ntell me.", "AMORY: Finally I convinced her that she was smarter than I was--then she\nthrew me over. Said I was critical and impractical, you know.\n\nROSALIND: What do you mean impractical?", "ROSALIND: I love you--now.\n\n(They kiss.)\n\nAMORY: Oh, God, what have I done?", "AMORY: No--I was going to make it French. I was Louis XIV and you were\none of my--my--(Changing his tone.) Suppose--we fell in love.\n\nROSALIND: I've suggested pretending." ], [ "\"To Monsignor Darcy, Amory. He wants to see you. He went to Harrow and\nthen to Yale--became a Catholic. I want him to talk to you--I feel he", "\"He comes here for a rest,\" said Monsignor confidentially, treating\nAmory as a contemporary. \"I act as an escape from the weariness of", "A letter dated January, 1918, written by Monsignor Darcy to Amory, who\nis a second lieutenant in the 171st Infantry, Port of Embarkation, Camp\nMills, Long Island.", "\"Amory will go to him one day, I know,\" breathed the beautiful lady,\n\"and Monsignor Darcy will understand him as he understood me.\"", "charm. Monsignor called out the best that he had thought by question and\nsuggestion, and Amory talked with an ingenious brilliance of a thousand", "Monsignor made quite as much out of \"The Beloved Vagabond\" and \"Sir\nNigel,\" taking good care that Amory never once felt out of his depth.", "\"No,\" Amory objected. \"I've lost half my personality in a year.\"\n\n\"Not a bit of it!\" scoffed Monsignor. \"You've lost a great amount of\nvanity and that's all.\"", "Monsignor Darcy invited Amory up to the Stuart palace on the Hudson for\na week at Christmas, and they had enormous conversations around the open", "fire. Monsignor was growing a trifle stouter and his personality had\nexpanded even with that, and Amory felt both rest and security in", "Monsignor Darcy's house was an ancient, rambling structure set on a hill\noverlooking the river, and there lived its owner, between his trips to", "\"Monsignor Darcy still thinks that you're his reincarnation, that your\nfaith will eventually clarify.\"", "Of Amory's attempted sacrifice had been born merely the full realization\nof his disillusion, but of Monsignor's funeral was born the romantic", "As February became slashed by sun and moved cheerfully into March,\nAmory went several times to spend week-ends with Monsignor; once he", "Feeling very much alone, Amory yielded to an impulse and set off\nsouthward, intending to join Monsignor in Washington. They missed", "rather burgeois, as Beatrice used to say, still you need only go to the\nsporty churches, and I'll introduce you to Monsignor Darcy who really is\na wonder.", "Amory talked; he went thoroughly into the destruction of his egotistic\nhighways, and in a half-hour the listless quality had left his voice.\n\n\"What would you do if you left college?\" asked Monsignor.", "Amory kept thinking how Monsignor would have enjoyed his own funeral.\nIt was magnificently Catholic and liturgical. Bishop O'Neill sang solemn", "He wanted to see Monsignor Darcy, to whom he had written when he landed,\nbut he had not heard from him; besides he knew that a visit to Monsignor", "*****\n\nANOTHER ENDING\n\nIn mid-August came a letter from Monsignor Darcy, who had evidently just\nstumbled on his address:", "After Amory returned to college he received several letters from\nMonsignor which gave him more egotistic food for consumption." ], [ "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "There was a stir, and Sally led the way over to their table. Amory\nstruggled to Isabelle's side, and whispered:\n\n\"You're my dinner partner, you know. We're all coached for each other.\"", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "It delighted Amory when Isabelle suggested that they leave for a while\nand drive around in her car. For a delicious hour that passed too soon", "When the disbanding came, Amory set out post haste for Minneapolis, for\nSally Weatherby's cousin, Isabelle Borge, was coming to spend the winter", "\"Oh--what?\" Isabelle's face was a study in enraptured curiosity.\n\nAmory shook his head.\n\n\"I don't know you very well yet.\"", "The next day was another whirl. They lunched in a gay party of six in a\nprivate dining-room at the club, while Isabelle and Amory looked at each", "But Amory sighed and made use of the nights. He had a snap-shot of\nIsabelle, enshrined in an old watch, and at eight almost every night he", "about herself that evening. She had had a harried life from sixteen on,\nand her education had stopped sharply with her leisure. Browsing in her\nlibrary, Amory found a tattered gray book out of which fell a yellow", "o'clock found Isabelle and Amory sitting on the couch in the little\nden off the reading-room up-stairs. She was conscious that they were\na handsome pair, and seemed to belong distinctively in this seclusion,", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "in Minneapolis while her parents went abroad. He remembered Isabelle\nonly as a little girl with whom he had played sometimes when he first\nwent to Minneapolis. She had gone to Baltimore to live--but since then", "There was another moment while they stared at each other. Then Amory\nwent briskly to the bureau and, taking his pocket-book, beckoned", "But Amory, being on the spot, leaned over quickly and kissed Myra's\ncheek. He had never kissed a girl before, and he tasted his lips", "The car was obligingly drawn up at a curb, and Amory ran for the\nboardwalk. First, he realized that the sea was blue and that there was", "\"Fella I was with's a damn fool,\" confided the blue-eyed woman. \"I hate\nhim. I want to go home with you.\"\n\n\"You drunk?\" queried Amory with intense wisdom.", "\"Well--Amory Blaine!\"\n\nAmory looked down into the street below. A low racing car had drawn to a\nstop and a familiar cheerful face protruded from the driver's seat.", "At two o'clock back at the Weatherbys' Sally asked her if she and Amory\nhad had a \"time\" in the den. Isabelle turned to her quietly. In her", "along the cushions and moved constantly with little jerky openings and\nclosings. Then, suddenly, Amory perceived the feet, and with a rush of", "Sorrow lay lightly around her, and when Amory found her in Philadelphia\nhe thought her steely blue eyes held only happiness; a latent strength," ], [ "\"Oh, you and your Isabelle! I'll bet she's a simple one... let's say\nsome poetry.\"\n\nSo Amory declaimed \"The Ode to a Nightingale\" to the bushes they passed.", "\"We're awful,\" rejoiced Myra gently. She slipped her hand into his,\nher head drooped against his shoulder. Sudden revulsion seized Amory,", "read into her; that this was her high point, that no one else would ever\nmake her think. Yet that was what she had objected to in him; and Amory\nwas suddenly tired of thinking, thinking!", "lowered one long Sunday afternoon. Misty-eyed she stands and remembers;\nshe speaks aloud.) Oh, Amory, what have I done to you?", "\"Oh--what?\" Isabelle's face was a study in enraptured curiosity.\n\nAmory shook his head.\n\n\"I don't know you very well yet.\"", "Both stopped. Isabelle turned to Amory shyly. Her face was always enough\nanswer for any one, but she decided to speak.\n\n\"How--from whom?\"", "She was the only girl he ever knew with whom he could understand how\nanother man might be preferred. Often Amory met wives whom he had known\nas debutantes, and looking intently at them imagined that he found\nsomething in their faces which said:", "\"C'mon, Amory. Your romance is over.\"\n\nAmory laughed.\n\n\"You don't know how true you spoke. No idea. 'At's the whole trouble.\"", "into fences, rolling in gutters, and pursuing his eccentric course out\nof Amory's life. Amory cried on his bed.", "\"Oh, shut up!\" she cried suddenly, and fled down the hallway toward her\nroom. Amory stood there, covered with remorseful confusion.\n\n\"Damn!\"", "There was a stir, and Sally led the way over to their table. Amory\nstruggled to Isabelle's side, and whispered:\n\n\"You're my dinner partner, you know. We're all coached for each other.\"", "\"When life gets hold of a brainy man of fair education,\" began Amory\nslowly, \"that is, when he marries he becomes, nine times out of ten, a", "He helped her gently to her feet and boosted her onto his saddle. So\nthey started homeward; Amory walking and she bent forward on the pommel,\nsobbing bitterly.", "For years afterward when Amory thought of Eleanor he seemed still to\nhear the wind sobbing around him and sending little chills into the", "But Amory sighed and made use of the nights. He had a snap-shot of\nIsabelle, enshrined in an old watch, and at eight almost every night he", "taken his own life--years afterward the facts had come out. At the time\nthe story had both puzzled and worried Amory. Now he realized the truth;", "\"Amory.\"\n\n\"What?\"\n\n\"You're not in love with me. You never wanted to marry me, did you?\"", "When the disbanding came, Amory set out post haste for Minneapolis, for\nSally Weatherby's cousin, Isabelle Borge, was coming to spend the winter", "This had pleased Isabelle. It put them on equal terms, although she\nwas quite capable of staging her own romances, with or without advance\nadvertising. But following her happy tremble of anticipation, came a\nsinking sensation that made her ask:", "After the operation Beatrice had a nervous breakdown that bore a\nsuspicious resemblance to delirium tremens, and Amory was left in" ] ]

[ "What university does Amory Blaine attend? ", "How are Beatrice and Amory related?", "Who does Amory begin a romantic relationship with?", "What war does Amory serve in? ", "What was his job in the military?", "After the war, who does Amory fall in love with? ", "The relationship with Rosalind fails because of what?", "Who is Amory's mentor?", "What city is Amory from? ", "Where does Amory Blaine attend college?", "When did Amory first meet Isabelle Borge?", "Where do they meet again?", "At which event do the couple fall out of love?", "How does Amory communicate with Isabelle?", "When does Amory learn of Monsignor Darcy's death?", "What war did Amory serve in?", "What was Amory's job in the military?", "What destroys Amory's relation ship with Rosalind Connage?", "Who does Amory claim to be the only person he knows?", "What university does Amory attend?", "Who is Beatrice in relation to Amory?", "While at Princeton, what does Amory write for Isabelle?", "Why does Amory go overseas?", "What war was taking place?", "What was Amory's job in the arm?", "Why does the relationship between Rosalind and Amory fail?", "Who is Monsignor Darcy in relation to Amory?", "Where does Amory meet Isabelle?", "After Isabelle marries someone, why is Amory again crushed?" ]

[ [ "Princeton University", "Princeton University." ], [ "They are mother and son", "She is his mother." ], [ "Isabelle", "Isabelle Borge." ], [ "World War I", "World War I" ], [ "He was a bayonet instructor", "He was a bayonet instructor." ], [ "Rosalind Connage", "Rosalind Connage" ], [ "His lack of money", "Because Amory is poor." ], [ "Monsignor Darcy", "Monsignor Darcy. " ], [ "Minneapolis", "Minneapolis." ], [ "Princeton University.", "princeton university" ], [ "When they were children.", "When he was a little boy." ], [ "In Minneapolis.", "Minneapolis." ], [ "Amory's prom.", "At Amory's prom." ], [ "He sends poetic letters to her.", "He writes love poems." ], [ "After his break-up with Rosalind Connage.", "After the war." ], [ "World War I", "World War I" ], [ "He was a bayonet instructor.", "A bayonet instructor." ], [ "His lack of money.", "Because Amory is poor." ], [ "Himself.", "Everyone he loves has died or abandoned him." ], [ "Princeton", "Princeton." ], [ "His mother", "His mother." ], [ "poetry", "flowery poems" ], [ "to serve in the army", "To serve in the army during World War I." ], [ "World War I", "World War I" ], [ "a bayonet instructor", "A bayonet teacher." ], [ "Amory is poor", "Rosalind married a rich man. " ], [ "his mentor", "His mentor." ], [ "Minneapolis", "in Minneapolis" ], [ "He learns that Darcy has died", "Her mentor has died." ] ]

[ [ "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE turns and at the top of the stairs sees SIGNORA\n\tANNA and behind her, ALFREDO, her husband. He is wearing a", "booth. He sees ALFREDO through the lion's mouth. ALFREDO also catches sight of \n\thim. SALVATORE gives him a timid wave of the hand, as if asking if he can come", "talking, ALFREDO usually sings to himself. SALVATORE stands beside\n\thim, taking in everything he does with those quick, thieving eyes of his", "ALFREDO gets the message now, looks up at MARIA, who has\n\tcaught SALVATORE and is dragging him home, hitting and", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "ALFREDO \n\t\tYou weren't expecting me? \n\t\n\t\t\t\tSALVATORE", "ALFREDO is concentrated, as if SALVATORE'S description transmitted the \n\treal image to him, the colours, the forms. The railway station has appeared on", "from SALVATORE's face, we \n\t\t\tsee that he is now a young \n\t\t\tman, and that ALFREDO is", "looks at the desk next to him, where SALVATORE is sitting. SALVATORE is about to \n\tlook up at him, but ALFREDO immediately looks away, too proud to let himself be", "SALVATORE \n\t\tAlfredo, it's beautiful.\n\t\t\t(A voice is heard in the", "SALVATORE \n\t\tAlfredo, go fuck yourself!!! \n\t\t\t(But his words are drowned \n\t\t\tout by the sudden shouting", "making his way up with the help of his cane. SALVATORE freezes to the spot. \n\tALFREDO senses his disappointment.", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "The crowd roars with laughter. SALVATORE laughs too, as if carried away by it \n\tall. And over the general merriment looms the shadow of ALFREDO, standing in the", "ALFREDO insists with his eyes. SALVATORE makes him understand with gestures \n\tthat he could help him maybe, but...on one condition. He imitates the gesture", "conspiracy against him. ALFREDO has no way out. He has to accept the idea of \n\teating humble pie. He looks at SALVATORE, motions him with his eyes in a", "ALFREDO \n\t\tAny room for me in this Cinema \n\t\tParadiso?\n\t\t\t(SALVATORE runs over and" ], [ "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "conspiracy against him. ALFREDO has no way out. He has to accept the idea of \n\teating humble pie. He looks at SALVATORE, motions him with his eyes in a", "As usual ALFREDO'S sweetness comforts SALVATORE, indeed suddenly gives him a \n\tbold idea, one that quiets his nervousness. He puts a hand on ALFREDO'S", "ALFREDO gets the message now, looks up at MARIA, who has\n\tcaught SALVATORE and is dragging him home, hitting and", "(ALFREDO nods his head.) \n\t\n\t\t\t\tSALVATORE \n\t\tNow I understand why the soldier went", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE \n\t\tAlfredo, go fuck yourself!!! \n\t\t\t(But his words are drowned \n\t\t\tout by the sudden shouting", "(ALFREDO quiets down as \n\t\t\tSALVATORE lowers him into \n\t\t\ta chair, and asks him the", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "ALFREDO insists with his eyes. SALVATORE makes him understand with gestures \n\tthat he could help him maybe, but...on one condition. He imitates the gesture", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "talking, ALFREDO usually sings to himself. SALVATORE stands beside\n\thim, taking in everything he does with those quick, thieving eyes of his", "ALFREDO. \n\t\n\t\t\t\tSALVATORE \n\t\tWhat'd I tell you? It doesn't catch", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "SALVATORE and ALFREDO walk slowly along the waterfront. ALFREDO totters \n\tslightly, holds on to SALVATORE, who is telling him something very funny.", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "from SALVATORE's face, we \n\t\t\tsee that he is now a young \n\t\t\tman, and that ALFREDO is", "SALVATORE \n\t\tAlfredo, it's beautiful.\n\t\t\t(A voice is heard in the", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "SALVATORE laughs up his sleeve, now he has the upper hand. ALFREDO tries \n\tsneaking a look at his exercise book in order to copy something. But SALVATORE" ], [ "Cut to:\n\t\n\tThe service is over. The PRIEST is in the sacristy removing his", "the house-front screen. Behind him, the door of the movie house opens. The \n\tPRIEST, Father Adelfio, sees the film being projected on the house front,", "possessed. His worried-looking mother is also there for the occasion. The PRIEST \n\tturns to SPACCAFICO. \n\t\n\t\t\t\tPRIEST", "vestments. And SALVATORE is also there, removing his altar-boy\n\ttunic.\n\t\n\t\t\t\tPRIEST", "provoking incidents. The PRIEST, Father Adelfio, is exhausted, tries to\n\tcalm them down.\n\t\n\t\t\t\tPRIEST", "...And also the kiss of the two actors. The PRIEST'S nervous look lingers on \n\tthose black-and-white lips meeting and now pulling apart for one last", "The PRIEST is appalled, crosses himself. \n\t\n\t\t\t\tPRIEST \n\t\tBut Alfredo, what you're saying is", "withering look of the PRIEST. He gets the message at once and\n\trings the bell. Now the PRIEST can carry on, lifts the chalice and\n\tthe bell is heard again.", "He smiles at her. She is upset by those exaggerated words, but also intrigued.\n\t\n\tThe PRIEST has meanwhile solved the problem that ALFREDO has made up as an", "been like a father to him. But why had he forgotten him? Up in front, leading \n\tthe procession, he sees a young PRIEST with an altar boy beside him, and these", "Oh yes, father. Now everything's \n\t\tclear.\n\t\n\t\t\t\tPRIEST \n\t\tAnd the next time don't go around", "The PRIEST has finished disrobing. He takes the bell\n\tSALVATORE was holding during the service and turns to leave.", "He limps. Throws himself to the ground as if a snake had bitten him. The PRIEST \n\tleans over in alarm. Up ahead in the distance, ALFREDO turns around to look.", "PRIEST, who is now drumming the bell with his fingers. On the\n\tscreen, the male and female lead, two Hollywood stars, are in", "holes and looks down into the theatre, at the PRIEST who waves his\n\thand.\n\t\n\t\t\t\tPRIEST", "lost all peace of mind...\n\t\n\tSALVATORE watches from a distance. He sees the PRIEST put on an alarmed", "SALVATORE is so happy that he gives him a pat on the cheek, like a caress. Then \n\the hurries over to the PRIEST. Says something in a low voice, gesticulates with", "SALVATORE is crestfallen. He looks et the PRIEST, then at the bicycle riding \n\taway. His eyes light up an idea! He suddenly yells:", "Now FATHER ADELFIO is blessing the brand-new projection booth. He also blesses \n\tthe new projectionist: SALVATORE. He is very nervous, but serious, self-", "found out that night, after the last \n\t\tshow. Those are things you never \n\t\tforget...\n\t\t\t(Changing his tone.)" ], [ "to a halt. It is ALFREDO'S last farewell to the place where he had spent the \n\tbest years of his life the Cinema Paradiso. Everyone turns to look and", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "down the stairs which have been reached by the smoke but not by the flames. \n\tALFREDO doesn't move, his face is burnt. SALVATORE looks at him and only now is", "of the fire. The flames on the floor burn his legs. ALFREDO gives a jump, slows \n\tdown the movement of his hands for an instant and inevitably the flames run", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "objects fall on him. Using the same blanket, he stamps out the flames that have \n\tseared ALFREDO'S clothes. With the force of desperation, he drags him further", "made out, appearing and disappearing...It is ALFREDO, the\n\tprojectionist. He is around forty, skinny and bony with a tough", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "ALFREDO \n\t\tAny room for me in this Cinema \n\t\tParadiso?\n\t\t\t(SALVATORE runs over and", "35 SQUARE AND CINEMA PARADISO. EXT. EVENING \n\t\n\tThe fire has been put out. Nothing remains of the movie house but the skeleton.", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "SALVATORE turns towards the Cinema Paradiso. The projectionist is at the \n\twindow of the booth, smoking a cigarette. Who knows who he is, where he came", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "ahead, reach the upper housing. It's like an explosion. The flames leap out, \n\tstriking him full in the face. ALFREDO doesn't have time to scream, struggles", "70 CINEMA PARADISO. INT. EVENING\n\t\n\tSALVATORE has a bruise on his cheek and two Band-aids on his face.", "for preserving the grape must. ALFREDO is sitting in front of the Cinema \n\tParadiso with SPACCAFICO and the USHER. It is a quiet moment, they chat, while", "...a deafening roar rends the air, accompanied by a surge of amazement in the \n\tcrowd. And the Cinema Paradiso suddenly collapses, folds inward and disappears", "3I:CINEMA PARADISO. INT. EVENING \n\t\n\tA violent spurt of flames leaps out of the mouth of the plaster lion's head," ], [ "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE sits there without moving, pale as a sheet, looks as if he had\n\tgrown even older. As if the whole world has fallen in on him. For ELENA, it was", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "pass by with a packet in her hand. It is ALFREDO's WIFE, and the packet is his \n\tsupper. SALVATORE leaps to his feet and runs out to her.", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "MARIA gives him a slap. SALVATORE holds back the sobs, but\n\this eyes brim with tears. ALFREDO and the USHER are nearby,\n\thave heard everything.", "SALVATORE nods his head. He gazes intensely at the coffin covered with flowers \n\tand is grieved as if he were ashamed never to have come to see the man who had", "(SALVATORE gets the \n\t\t\tmessage, feels guilty. \n\t\t\tThinking about it, it \n\t\t\tseems incredible that he", "have gone by. SALVATORE adds a check on the last page, on 30 December. Tomorrow \n\tnight will be...New Year's Eve. The streets are empty. Loud merry voices can be", "SALVATORE \n\t\tAlfredo, go fuck yourself!!! \n\t\t\t(But his words are drowned \n\t\t\tout by the sudden shouting", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "looks at the desk next to him, where SALVATORE is sitting. SALVATORE is about to \n\tlook up at him, but ALFREDO immediately looks away, too proud to let himself be", "The crowd roars with laughter. SALVATORE laughs too, as if carried away by it \n\tall. And over the general merriment looms the shadow of ALFREDO, standing in the", "from SALVATORE's face, we \n\t\t\tsee that he is now a young \n\t\t\tman, and that ALFREDO is", "SALVATORE is in the front row with his MOTHER, next to ALFREDO'S WIDOW. \n\tSIGNORA ANNA says in a whisper, her eyes fixed on the coffin.", "For SALVATORE, it's as if a knife had plunged straight into his heart. He sits \n\tthere gazing into her eyes, at the beauty mark on her lip, without moving. Then", "conspiracy against him. ALFREDO has no way out. He has to accept the idea of \n\teating humble pie. He looks at SALVATORE, motions him with his eyes in a", "making his way up with the help of his cane. SALVATORE freezes to the spot. \n\tALFREDO senses his disappointment.", "suffering no more. For SALVATORE, it's as if one of those thunderbolts had \n\tpierced his heart. He leans over, gazing into her shining eyes." ], [ "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "ALFREDO is concentrated, as if SALVATORE'S description transmitted the \n\treal image to him, the colours, the forms. The railway station has appeared on", "from SALVATORE's face, we \n\t\t\tsee that he is now a young \n\t\t\tman, and that ALFREDO is", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE turns and at the top of the stairs sees SIGNORA\n\tANNA and behind her, ALFREDO, her husband. He is wearing a", "booth. He sees ALFREDO through the lion's mouth. ALFREDO also catches sight of \n\thim. SALVATORE gives him a timid wave of the hand, as if asking if he can come", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "looks at the desk next to him, where SALVATORE is sitting. SALVATORE is about to \n\tlook up at him, but ALFREDO immediately looks away, too proud to let himself be", "The crowd roars with laughter. SALVATORE laughs too, as if carried away by it \n\tall. And over the general merriment looms the shadow of ALFREDO, standing in the", "ALFREDO \n\t\tYou weren't expecting me? \n\t\n\t\t\t\tSALVATORE", "talking, ALFREDO usually sings to himself. SALVATORE stands beside\n\thim, taking in everything he does with those quick, thieving eyes of his", "ALFREDO insists with his eyes. SALVATORE makes him understand with gestures \n\tthat he could help him maybe, but...on one condition. He imitates the gesture", "making his way up with the help of his cane. SALVATORE freezes to the spot. \n\tALFREDO senses his disappointment.", "And he stares at ALFREDO with a sly, saucy look. ALFREDO clutches his hand, \n\tdarts forth like an arrow and is about to give him a kick in the ass. He", "made out, appearing and disappearing...It is ALFREDO, the\n\tprojectionist. He is around forty, skinny and bony with a tough", "SALVATORE \n\t\tAlfredo, it's beautiful.\n\t\t\t(A voice is heard in the", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "As usual ALFREDO'S sweetness comforts SALVATORE, indeed suddenly gives him a \n\tbold idea, one that quiets his nervousness. He puts a hand on ALFREDO'S", "ALFREDO, embarrassed and \n\t\t\tred in the face. SALVATORE \n\t\t\tis speechless. Gives a", "SALVATORE comes streaking up in front of her house. He screeches to a stop, \n\tdashes out like greased lightning. His nerves are tense, a slight tremor runs" ], [ "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "ALFREDO gives SALVATORE a wooden stool. He's had it made especially for him, so \n\the can be high enough to reach the reels of the projector and the arc lamp.", "ALFREDO slips the reel on to the projector, unrolls the trailer and hands\n\tit to SALVATORE. SALVATORE mounts the film on the sprockets.", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "ALFREDO shows SALVATORE the running of the film. He points\n\tto a place on the projector.", "...the rolling pin ALFREDO uses to flatten out a reel of film that has just \n\tbeen unloaded. SALVATORE carefully watches ALFREDO 5 every move. He is not in", "ALFREDO insists with his eyes. SALVATORE makes him understand with gestures \n\tthat he could help him maybe, but...on one condition. He imitates the gesture", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "conspiracy against him. ALFREDO has no way out. He has to accept the idea of \n\teating humble pie. He looks at SALVATORE, motions him with his eyes in a", "pass by with a packet in her hand. It is ALFREDO's WIFE, and the packet is his \n\tsupper. SALVATORE leaps to his feet and runs out to her.", "ALFREDO gets the message now, looks up at MARIA, who has\n\tcaught SALVATORE and is dragging him home, hitting and", "ALFREDO is caught out. He stops the film where another slip of paper is stuck \n\tin and cuts the scene:\n\t\n\t\t\t\tALFREDO", "SALVATORE \n\t\tAlfredo, go fuck yourself!!! \n\t\t\t(But his words are drowned \n\t\t\tout by the sudden shouting" ], [ "Giancaldo. SALVATORE is nine years old. Dressed as an altar boy, he\n\tis kneeling by the altar with a little silver bell in his hands. The", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "(SALVATORE laughs at the \n\t\t\tabsurdity of it. A \n\t\t\tnervous, heartbroken", "SALVATORE comes streaking up in front of her house. He screeches to a stop, \n\tdashes out like greased lightning. His nerves are tense, a slight tremor runs", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE is sitting at the front-row desk next to PEPPINO, \n\ta little freckle-faced boy. His attention, like that of the whole class, is", "SALVATORE is so happy that he gives him a pat on the cheek, like a caress. Then \n\the hurries over to the PRIEST. Says something in a low voice, gesticulates with", "changed your name. You should have \n\t\tkept your own. \n\t\n\tTears stream down Salvatore's cheeks. He gives her a look of longing, of", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "SALVATORE drops his eyes to the ground, mortified. He knows what's\n\tcoming. He goes over to her timidly, uncertain, gives her a questioning\n\tlook.", "SALVATORE's lips interrupt her. It is an intense, a stupendous kiss. They've \n\tprobably never been so happy as they are at that moment. They cling to each", "SALVATORE doesn't answer. God only knows how often he's heard that question \n\tbefore.\n\t\n\t\t\t\tSALVATORE", "SALVATORE is very flustered. He feels as if all his blood were\n\tthrobbing in his head. He tries to say something else, but the words\n\tcatch in his throat.", "SALVATORE is in the guardhouse. A cold, dark, filthy cell. His nerves start to \n\tgive way. He bows his head in despair.", "SALVATORE \n\t\tSalvatore. \n\t\n\tSilence, charged with tension. Then the voice continues weakly, as if puzzled.", "SALVATORE's face, stiff, unmoving, his eyes fixed on those falling ruins, on \n\tthat season of his life turning into smoke and dust. Enveloped in the white", "But SALVATORE ignores the question. He doesn't want to change the subject. \n\tHe feels that everything is crumbling inside him, the alibis and excuses he had", "SALVATORE is driving an old beaten-up Balilla he bought from a\n\tcar-wrecker. ELENA sits beside him, having the time of her life. They", "SALVATORE recognizes him, it's the VILLAGE IDIOT, the one who used to close down \n\tthe square at night. Be watches him walk off, raving, with nobody even noticing." ], [ "to a halt. It is ALFREDO'S last farewell to the place where he had spent the \n\tbest years of his life the Cinema Paradiso. Everyone turns to look and", "35 SQUARE AND CINEMA PARADISO. EXT. EVENING \n\t\n\tThe fire has been put out. Nothing remains of the movie house but the skeleton.", "it to the outdoor movie house. The USHER has hung a sign on the Cinema Paradiso \n\tto the effect that 'Showings to continue at the Imperia Arena', and now climbs", "SALVATORE turns towards the Cinema Paradiso. The projectionist is at the \n\twindow of the booth, smoking a cigarette. Who knows who he is, where he came", "...a deafening roar rends the air, accompanied by a surge of amazement in the \n\tcrowd. And the Cinema Paradiso suddenly collapses, folds inward and disappears", "...The great lighted sign of the CINEMA PARADISO . The movie house has been \n\trebuilt. New facade. New billboards. There are people", "Paradiso is shut. Hanging outside is the poster of the film that has just been \n\tseen on screen. Up above, the windows of the projection booth are open. The hum", "<B>CINEMA PARADISO</B>\n\n\t\t by\n\n\t Giuseppe Tornatore", "123 CINEMA PARADISO. INT. DAY \n\t\n\tThe inside of the theatre, completely empty...All of a sudden, a blinding flash \n\tand...", "has been seen at the Cinema Paradiso. The audience murmurs, surprised and \n\texcited.\n\t\n\t\t\t\tAUDIENCE", "48 CINEMA PARADISO. INT. EVENING\n\t\n\tThe lights are still on. In the thick blanket of smoke, the crowd stirs", "<HTML><HEAD><TITLE>CINEMA PARADISO by Giuseppe Tornatore</TITLE>\n<META http-equiv=Content-Type content=\"text/html; charset=windows-1252\">", "39 CINEMA PARADISO. INT. EVENING\n\t\n\tLaughter. The laughter of the large audience at the first showing of the", "Another race back to Cinema Paradiso. BOCCIA starts looking tired, his breath is \n\tshort. And daylight starts fading into the colours of sundown.", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "that balcony any more.\n\t\n\t67 CINEMA PARADISO. PROJECTION BOOTH. INT. AFTERNOON", "3I:CINEMA PARADISO. INT. EVENING \n\t\n\tA violent spurt of flames leaps out of the mouth of the plaster lion's head,", "16:CINEMA PARADISO. INT/EXT. DAY\n\t\n\t...the house packed to the rafters. Voices and laughter of the children. Smoke,", "103 CINEMA PARADISO. EXT. DAY . \n\t\n\tThe TRAFFIC cops are trying to break the front door down with their", "70 CINEMA PARADISO. INT. EVENING\n\t\n\tSALVATORE has a bruise on his cheek and two Band-aids on his face." ], [ "She falls asleep in the dead silence of the night. SALVATORE is seized by a \n\tsort of chill a deep, troubled feeling. He gazes through the window al the city,", "the streets of his home town, spying from a distance on an eighteen- year-old \n\tgirl. There's nothing he can do about it. He stares at her with the amazement of", "blows. The streets are empty. And there is a strange silence. Nothing can be \n\theard except far in the distance, from somewhere in the country, the love song", "The bell-tower rings midnight. The square is nearly deserted. Except\n\tfor a landowner near the refreshment stand, with a moustache and a", "The wind is stronger now, the streets and the square are empty. SALVATORE \n\tis at the wheel of the car, driving aimlessly around the town. He has", "MARIA walks through the city. She holds SALVATORE by the hand. SALVATORE looks \n\tup, trying to catch her eye. He sees her crying, in silence. The heartbroken", "He's sitting on the ground. But even if he were to go to bed he wouldn't \n\tsleep. He rubs his face with his hand. The church bell chimes four a.m...", "sees the village...which is now a city. A different world he no longer \n\tknows.", "all the sacrifices. She is sewing some clothes, is a seamstress. LIA,\n\this four-year-old sister, is sleeping on a cot in one corner. The", "SALVATORE. Through the picture window on the terrace, the city can be seen \n\tslumbering in the night. SALVATORE gets undressed on his way to the bedroom. He", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "watches them come out the gate and climb into a car. They look like father and \n\tdaughter. The car now drives off and passes right by him. A gleam of light,", "The square is empty, the billboard in front of the closed movie house announces \n\ta Western. SALVATORE puts his suitcase on the ground, looks around. Everything", "rest. They sit in a \n\t\t\tdoorway. ALFREDO starts \n\t\t\ttelling his story, and his \n\t\t\tway of speaking is", "SALVATORE comes streaking up in front of her house. He screeches to a stop, \n\tdashes out like greased lightning. His nerves are tense, a slight tremor runs", "heard coming from the houses. Old discarded objects hail down from balconies. \n\tFirecrackers explode here and there. SALVATORE is there in the same old place,", "The camera now moves, discovering them through the parlor window, hugging each \n\tother outside the front door. Under the curious eyes of an old bored dog.", "through his whole body. He rings the bell, but nobody answers. A MAN who lives \n\tin the building opens the front door and comes out.", "as usual. The shutters are open, but not the windows, and all is darkness \n\tinside. SALVATORE is wrapped in a large overcoat and stamps his feet to keep", "And they roar with laughter. They look like two old school buddies telling each \n\tother dirty jokes. They stop beside a low wall. ALFREDO knows that those laughs" ], [ "the streets of his home town, spying from a distance on an eighteen- year-old \n\tgirl. There's nothing he can do about it. He stares at her with the amazement of", "reach out and take hold of the shutters and pull them shut. The light goes out. \n\tIt is midnight. An echoing voice does the countdown.", "The bell-tower rings midnight. The square is nearly deserted. Except\n\tfor a landowner near the refreshment stand, with a moustache and a", "have gone by. SALVATORE adds a check on the last page, on 30 December. Tomorrow \n\tnight will be...New Year's Eve. The streets are empty. Loud merry voices can be", "I've shown it so many times I know it \n\t\tby heart. The first time I showed \n\t\tit, in 1940, was the Sunday my first", "The second part has begun, the reel is full. For the first time in many\n\tyears, ALFREDO is alone in the booth, sitting in front of the projector,", "ALMOST THIRTY YEARS LATER, another distant bell is chiming four a.m. And", "blows. The streets are empty. And there is a strange silence. Nothing can be \n\theard except far in the distance, from somewhere in the country, the love song", "all the sacrifices. She is sewing some clothes, is a seamstress. LIA,\n\this four-year-old sister, is sleeping on a cot in one corner. The", "where he is. Besides he might not \n\t\teven remember. Do as I say, forget \n\t\tit...He hasn't been here for thirty", "(All the children turn to \n\t\t\tlook. A MAN around thirty \n\t\t\tenters, ill at ease. The \n\t\t\tchildren recognize him and", "years. You know how he is. \n\t\n\tMARIA pauses to think it over. The decision she has to make is important. Then, \n\tstubbornly.", "The little house is sunk in the darkness of evening and the ground floor\n\twindows are lit up. The rustling of the sea can be heard. The family is having", "The camera now moves, discovering them through the parlor window, hugging each \n\tother outside the front door. Under the curious eyes of an old bored dog.", "rocking his head back and forth slowly, like he used to do as a boy when he \n\tcried. She somehow feels his grief, his bitterness, lowers her eyes and walks", "thirty years, each of them with a phone receiver to their ear. But she is \n\tsomewhat in the dark, against the light, it's impossible to make out her", "discover the oldest dates at the bottom. He moves swiftly, his hands plunge in, \n\tthen fling up a nimbus of paper and dust. But to no avail...He stops, short of", "as usual. The shutters are open, but not the windows, and all is darkness \n\tinside. SALVATORE is wrapped in a large overcoat and stamps his feet to keep", "took up this profession when I \n\t\twas ten years old. In those days \n\t\tthere weren't these modern machines.", "rest. They sit in a \n\t\t\tdoorway. ALFREDO starts \n\t\t\ttelling his story, and his \n\t\t\tway of speaking is" ], [ "was. And like a flash, a shudder freezes him to the spot.... Two steps away \n\tfrom \n\thim, through the glass, a stunning vision, which casts him beyond time, chills", "thrown back. A little hand drops the cockroach into the gaping mouth.\n\tThe URCHINS take to their heels. The BLACKSMITH squirms, wake up", "gesture. A flash come into his eyes, the same flash he had as a little\n\tboy when he finds the right way to hit home. He picks up his step,", "rocking his head back and forth slowly, like he used to do as a boy when he \n\tcried. She somehow feels his grief, his bitterness, lowers her eyes and walks", "(An icy flash runs through \n\t\t\tMARIA'S eyes.)\n\t\n\t\t\t\tMARIA", "found out that night, after the last \n\t\tshow. Those are things you never \n\t\tforget...\n\t\t\t(Changing his tone.)", "reach out and take hold of the shutters and pull them shut. The light goes out. \n\tIt is midnight. An echoing voice does the countdown.", "His eyes flash, he's afraid he's understood. And now the craze to get to the \n\tbottom of it all gnaws away at him. There is no turning back.", "watches them come out the gate and climb into a car. They look like father and \n\tdaughter. The car now drives off and passes right by him. A gleam of light,", "now stands there watching him in silence. The thunder is deafening. That someone \n\tis ELENA. She comes up behind him, realizes he is thinking \n\tabout her. Whispers.", "And they roar with laughter. They look like two old school buddies telling each \n\tother dirty jokes. They stop beside a low wall. ALFREDO knows that those laughs", "wound which he thought had healed years ago, starts bleeding again. \n\t\n\tThe lingering note of suffering for a romance that had ended without his ever", "rest. They sit in a \n\t\t\tdoorway. ALFREDO starts \n\t\t\ttelling his story, and his \n\t\t\tway of speaking is", "There is a haunted look in SALVATORE's eyes, he is searching his memory for \n\tsomething he can't find, then suddenly sees, as if in a dream...his hand thirty", "he recognizes from that time. He goes on thumbing through them, and all at once \n\tan astonished look appears on his face in his hands is a receipt that has been", "his blood: there before him is ELENA! But she is still young, young as she was \n\tthen! Sweet, luminous, alluring, exactly the way he saw her the first time at", "It's the train that THIRTY YEARS EARLIER had pulled into the station\n\tof his home town before leaving for Rome. SALVATORE hugs his", "like lightning during a storm. Now SALVATORE is posing next to his mother and \n\tlittle sister. They smile without hugging. Another flash of light. Click!", "where he is. Besides he might not \n\t\teven remember. Do as I say, forget \n\t\tit...He hasn't been here for thirty", "into a flowery metal box jammed full of pieces of film. He takes out a\n\tfew frames and holds them up against the kerosene lamp. Gazes at the" ], [ "SALVATORE comes streaking up in front of her house. He screeches to a stop, \n\tdashes out like greased lightning. His nerves are tense, a slight tremor runs", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "(SALVATORE looks at him. \n\t\t\tHates him. Yells something \n\t\t\toffensive:)", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another", "SALVATORE is so happy that he gives him a pat on the cheek, like a caress. Then \n\the hurries over to the PRIEST. Says something in a low voice, gesticulates with", "(SALVATORE laughs at the \n\t\t\tabsurdity of it. A \n\t\t\tnervous, heartbroken", "(SALVATORE recognizes \n\t\t\tELENA's voice, changes his \n\t\t\ttone, turns sweeter, more", "SALVATORE drops his eyes to the ground, mortified. He knows what's\n\tcoming. He goes over to her timidly, uncertain, gives her a questioning\n\tlook.", "An irresistible chorus of Bronx cheers washes over him. SALVATORE looks around, \n\thighly amused.", "SALVATORE recognizes him, it's the VILLAGE IDIOT, the one who used to close down \n\tthe square at night. Be watches him walk off, raving, with nobody even noticing.", "SALVATORE is in the guardhouse. A cold, dark, filthy cell. His nerves start to \n\tgive way. He bows his head in despair.", "SALVATORE is very flustered. He feels as if all his blood were\n\tthrobbing in his head. He tries to say something else, but the words\n\tcatch in his throat.", "SALVATORE doesn't answer. God only knows how often he's heard that question \n\tbefore.\n\t\n\t\t\t\tSALVATORE", "But SALVATORE ignores the question. He doesn't want to change the subject. \n\tHe feels that everything is crumbling inside him, the alibis and excuses he had", "SALVATORE is sitting at the front-row desk next to PEPPINO, \n\ta little freckle-faced boy. His attention, like that of the whole class, is", "SALVATORE \n\t\tSalvatore. \n\t\n\tSilence, charged with tension. Then the voice continues weakly, as if puzzled.", "(SALVATORE gets the \n\t\t\tmessage, feels guilty. \n\t\t\tThinking about it, it \n\t\t\tseems incredible that he", "...Salvatore, that's right, \n\t\tSalvatore. Di Vita Salvatore\n\t\t...But, miss, what do you mean you", "(And he squeezes \n\t\t\tSALVATORE'S shoulder. It's \n\t\t\tthe signal for taking a" ], [ "it to the outdoor movie house. The USHER has hung a sign on the Cinema Paradiso \n\tto the effect that 'Showings to continue at the Imperia Arena', and now climbs", "The crowd now moves over to the huge empty space where the movie house once \n\tstood. The murmuring voices are drowned out by the deafening roar of an", "the house-front screen. Behind him, the door of the movie house opens. The \n\tPRIEST, Father Adelfio, sees the film being projected on the house front,", "has been seen at the Cinema Paradiso. The audience murmurs, surprised and \n\texcited.\n\t\n\t\t\t\tAUDIENCE", "to the old movie house. With the same sack tied to the parcel-rack. He\n\tis exhausted. On his last legs. He slows down, then stops.", "out that the movie house is to be torn down depresses him, after all, it's a \n\tpiece of his life...And all those curious faces staring at him.", "floor and another seventy in the balcony. Along the walls, posters of\n\tfilms to be shown are stuck up between the light fixtures. In one corner,", "Paradiso is shut. Hanging outside is the poster of the film that has just been \n\tseen on screen. Up above, the windows of the projection booth are open. The hum", "...a deafening roar rends the air, accompanied by a surge of amazement in the \n\tcrowd. And the Cinema Paradiso suddenly collapses, folds inward and disappears", "Another race back to Cinema Paradiso. BOCCIA starts looking tired, his breath is \n\tshort. And daylight starts fading into the colours of sundown.", "way to the entrance of the movie house, out in the square. There are\n\tcrowds of people, shivering from the cold, who protest, shove, risk", "to a halt. It is ALFREDO'S last farewell to the place where he had spent the \n\tbest years of his life the Cinema Paradiso. Everyone turns to look and", "Peddlers hawk their wares in mournful cries. People come and go in front of the \n\ttown hall. The working men's club is deserted. The entrance of the Cinema", "They spin around, end up against the wall where strips of film are hanging, the \n\tfirst-part endings and the trailers. Another intense look, their eyes", "BOCCIA finally reaches the old movie house, which has been more or less spruced \n\tup. Here too people are lined up in front of the posters of Catene. CICCIO", "Outside there is a violent thunderstorm. The pounding of the rain and the \n\trumbling of the thunder drown out the sound-track of the film being shown. Two", "crowd. Inside the movie house the murmuring of the audience can be heard, \n\tgrowing louder and louder. A scream...", "towards the street with the stairs leading to the projection booth. The audience \n\tclashes against him, knocks him to the ground, almost trampling him underfoot.", "FADE.\n\t\n\tNow BOCCIA is on his way back to the old movie house. To carry out another", "...inside the movie house. The audience murmurs. Somebody opens\n\tan emergency exit...\n\t\n\t\t\t\tSPECTATOR'S VOICE" ], [ "been like a father to him. But why had he forgotten him? Up in front, leading \n\tthe procession, he sees a young PRIEST with an altar boy beside him, and these", "watches them come out the gate and climb into a car. They look like father and \n\tdaughter. The car now drives off and passes right by him. A gleam of light,", "All things considered, there is something in that little boy, maybe his \n\tfeverish passion, that strikes him. He'll talk to him seriously, without", "rocking his head back and forth slowly, like he used to do as a boy when he \n\tcried. She somehow feels his grief, his bitterness, lowers her eyes and walks", "had to end because of the man who was \n\t\tlike a father to me. A crazy lunatic! \n\t\t\t(She gives a faint smile.)", "on, as one of his schoolmates passes by. It is MASINO, and he's crying\n\tdesperately because he doesn't want to go to school. His FATHER drags", "(All the children turn to \n\t\t\tlook. A MAN around thirty \n\t\t\tenters, ill at ease. The \n\t\t\tchildren recognize him and", "He takes her hand, turns to go to a café. ELENA holds back. She has caught sight \n\tof her FATHER's car approaching. ELENA turns to look and in a faint voice", "the streets of his home town, spying from a distance on an eighteen- year-old \n\tgirl. There's nothing he can do about it. He stares at her with the amazement of", "There is a new look in his eyes, like a gleam of hope. Maybe it's the \n\tspecialness of that night, maybe it's the fire crackers, the festive atmosphere,", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another", "to hear his 'Toto'. He feels his forehead, his eyes and cheeks, as if to 'see' \n\thim. \n\t\n\t\t\t\tALFREDO", "startled look comes over ELENA's face that man is her FATHER. She sees him \n\tstride over in a rage.", "him along, yelling:\n\t\n\t\t\t\tMASINO'S FATHER\n\t\tYou can fool your mother but not me!", "Now FATHER ADELFIO is blessing the brand-new projection booth. He also blesses \n\tthe new projectionist: SALVATORE. He is very nervous, but serious, self-", "Everybody laughs again. Even MARIA laughs a lot. SALVATORE looks at her; he had \n\tnever seen her laugh like that, amused, at peace.", "ceiling as if he were swearing. Then he surrenders, accepts the condition. \n\tSALVATORE is serious, does not flaunt his victory, but you can tell he is happy.", "understood. He moves over \n\t\t\tcloser to him. ALFREDO \n\t\t\truns his hand through his", "Always! Right to the end! He was \n\t\tterribly fond of you...\n\t\t\t(Tears come to her, she is", "he is now! It's as if he were standing there before him one last time. That \n\timpressive figure, his good-natured bur firm look, touches his heart. From" ], [ "ahead, reach the upper housing. It's like an explosion. The flames leap out, \n\tstriking him full in the face. ALFREDO doesn't have time to scream, struggles", "claps his hands over his ears. Alternating with the machine-gunfire on screen, a \n\treal pistol shoots the back of one of the spectators, the landowner DON", "whistles...But SALVATORE hears nothing, neither the whistles nor the useless \n\twhirring of the reels in the projector. All he hears is her breathing, an he", "29 PROJECTION BOOTH. INT. DAY \n\t\n\tThe film bursts violently into flame among the gears and sprockets of the", "film's out of focus. Go see. \n\t\n\tSALVATORE stands up in disbelief. He looks through the hole, and indeed the film", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "and he feels helpless. Not only because he's blind, but also because\n\tthere is nothing he can do for SALVATORE. A strange agitation comes over him, as", "The flash of the flames flares up in the windows of the projection booth. \n\tSALVATORE is appalled, elbows his way through the moving", "And a roar of voices, shouts, explosions, fills the air. SALVATORE has remained \n\tstanding there immobile, speechless. Disappointed. Defeated.", "The second part has begun, the reel is full. For the first time in many\n\tyears, ALFREDO is alone in the booth, sitting in front of the projector,", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "...a deafening roar rends the air, accompanied by a surge of amazement in the \n\tcrowd. And the Cinema Paradiso suddenly collapses, folds inward and disappears", "There it disappears. SALVATORE can barely believe his eyes, as if it\n\twere a piece of magic. He takes a quick look through the hole to see if", "pair of dark glasses and walks with the kelp of a cane. He has\n\tlost his sight, but not his spirit. He smiles:", "window of the projection booth. All at once, on the house-front screen, the \n\timage of Toto slows down for an instant, a white blister appears and spreads", "until it fills the whole screen. The crowd gives a start of bewilderment and \n\tfear. SALVATORE jerks his head around to look at the booth.", "objects fall on him. Using the same blanket, he stamps out the flames that have \n\tseared ALFREDO'S clothes. With the force of desperation, he drags him further", "The beam of light shines out of the little square hole of the projection booth \n\tand the screen lights up. A number trailer goes by and then SALVATORE sees the \n\tfirst shots.", "The first part is now about to finish, the reel is almost empty, and ELENA still \n\tisn't there. SALVATORE is extremely nervous, worried, mortified by his meeting", "The place is filled with smoke. The air is suffocating. SALVATORE streaks up the \n\tstairs, gasping for breath. The projection booth is enveloped inflames." ], [ "the streets of his home town, spying from a distance on an eighteen- year-old \n\tgirl. There's nothing he can do about it. He stares at her with the amazement of", "leave. Day after tomorrow morning. \n\t\tThey're sending me to Rome. But \n\t\tthey'll discharge me ten days later. \n\t\tLet's go...", "The wind is stronger now, the streets and the square are empty. SALVATORE \n\tis at the wheel of the car, driving aimlessly around the town. He has", "family has gone to live. SALVATORE drives along in a state of agitation. The \n\tidea of having to leave without seeing ELENA is his obsession. An obsession he", "will be notified directly by military \n\t\tauthorities.\n\t\n\tSALVATORE pays careful attention, sees the black-and-white", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "...It's a nasty business waiting by \n\t\tyourself. In company it's better. \n\t\tNo?...Then I'll leave.", "already been waiting a long time for someone to go by, a car, a wagon. When all \n\tat once a car comes around the bend, heading for town. SALVATORE and ELENA flag", "turns to leave.)\n\t\t...I've got to go now. Bye-bye.\n\t\n\t\t\t\tSALVATORE", "on, as one of his schoolmates passes by. It is MASINO, and he's crying\n\tdesperately because he doesn't want to go to school. His FATHER drags", "The bell-tower rings midnight. The square is nearly deserted. Except\n\tfor a landowner near the refreshment stand, with a moustache and a", "where he is. Besides he might not \n\t\teven remember. Do as I say, forget \n\t\tit...He hasn't been here for thirty", "tells him to leave, to take the plane and fly away...\n\t\n\t110 SMALL SQUARE AND HOUSE. INT/EXT. EVENING", "A wild frenetic sequence, set to the pace of military life...SALVATORE, in \n\tuniform with close-cropped hair, answers his superior, shouts:", "had never left. And yet, I look at \n\t\tLia and feel as if I didn't know her, \n\t\tand you, Mamma...I abandoned you,", "The PRIEST has finished disrobing. He takes the bell\n\tSALVATORE was holding during the service and turns to leave.", "The bus disappears around the corner leaving SALVATORE standing there alone. It \n\tis a blazing hot day. The sirocco wind blows the yellow dust in all directions.", "But you were right to leave. You \n\t\tsucceeded in doing what you wanted to \n\t\tdo...\n\t\t\t(Sighing)", "Hey, cut it out! Go away. Shoo! \n\t\n\tWith a confused look on his face, SALVATORE picks up the sack and walks away,", "He takes her hand, turns to go to a café. ELENA holds back. She has caught sight \n\tof her FATHER's car approaching. ELENA turns to look and in a faint voice" ], [ "...the coffin where his old blind friend rests for ever. The funeral\n\tprocession winds its way down the main street. At the intersections, ,", "he recognizes from that time. He goes on thumbing through them, and all at once \n\tan astonished look appears on his face in his hands is a receipt that has been", "a long way. Behind them a donkey pulls a wagon containing a little\n\twhite coffin and a bunch of flowers. Behind that a little procession the", "to the old movie house. With the same sack tied to the parcel-rack. He\n\tis exhausted. On his last legs. He slows down, then stops.", "Always! Right to the end! He was \n\t\tterribly fond of you...\n\t\t\t(Tears come to her, she is", "SALVATORE nods his head. He gazes intensely at the coffin covered with flowers \n\tand is grieved as if he were ashamed never to have come to see the man who had", "directions and sees him at last. He comes running up to her. They\n\tembrace...\n\t\n\t\t\t\tELENA", "takes aim and flicks it to him. ALFREDO'S hand catches the precious and dearly \n\tbought message in mid-air. Their quarrel is over.", "through his whole body. He rings the bell, but nobody answers. A MAN who lives \n\tin the building opens the front door and comes out.", "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "letter. Next to him, the dog that kept him company at night, beneath ELENA's \n\twindow. He gazes up at him as if looking for news of her.", "didn't know what to say. He hangs up. The shadow at the window also hangs up, \n\tthen disappears...", "He left two things for you. Come see \n\t\tme before you leave.", "turned over. It's the one! The message scribbled on it can still be seen. He \n\treads it.", "rocking his head back and forth slowly, like he used to do as a boy when he \n\tcried. She somehow feels his grief, his bitterness, lowers her eyes and walks", "hurt, humiliated, rejected. He walks off amidst the old discarded objects flying \n\tdown from the terraces. That was his last night. He's not showing up beneath", "has arrived at the last \n\t\t\tmoment and waves goodbye \n\t\t\tfrom the distance.)\n\t\n\t\t\t\tPRIEST", "LIA, who goes on bawling her eyes out, and sees on the ground, in\n\tthe middle of the water, a flowery box all charred and still", "Love and kisses, Elena. \n\t\n\tHe clasps the scrap of paper, and his brimming eyes darken with regret.", "The bell-tower rings midnight. The square is nearly deserted. Except\n\tfor a landowner near the refreshment stand, with a moustache and a" ], [ "out that the movie house is to be torn down depresses him, after all, it's a \n\tpiece of his life...And all those curious faces staring at him.", "The crowd now moves over to the huge empty space where the movie house once \n\tstood. The murmuring voices are drowned out by the deafening roar of an", "...a deafening roar rends the air, accompanied by a surge of amazement in the \n\tcrowd. And the Cinema Paradiso suddenly collapses, folds inward and disappears", "only a dream. The city's bought it \n\t\tnow to make a new parking lot. Next \n\t\tSaturday they're", "SALVATORE also turns, taken by surprise...It has fallen to pieces: doors and \n\twindows boarded shut, crumbling walls, a piece of the sign dangling down, weeds", "heard coming from the houses. Old discarded objects hail down from balconies. \n\tFirecrackers explode here and there. SALVATORE is there in the same old place,", "There it disappears. SALVATORE can barely believe his eyes, as if it\n\twere a piece of magic. He takes a quick look through the hole to see if", "to the old movie house. With the same sack tied to the parcel-rack. He\n\tis exhausted. On his last legs. He slows down, then stops.", "hurt, humiliated, rejected. He walks off amidst the old discarded objects flying \n\tdown from the terraces. That was his last night. He's not showing up beneath", "The bell-tower rings midnight. The square is nearly deserted. Except\n\tfor a landowner near the refreshment stand, with a moustache and a", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "A man comes up to SALVATORE and asks for his autograph. Then SALVATORE turns to \n\tthe plate-glass window overlooking the main street, where the workers' club once", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "The camera now moves, discovering them through the parlor window, hugging each \n\tother outside the front door. Under the curious eyes of an old bored dog.", "35 SQUARE AND CINEMA PARADISO. EXT. EVENING \n\t\n\tThe fire has been put out. Nothing remains of the movie house but the skeleton.", "And the windows overlooking the square are bolted shut and the glass \n\tbroken. SALVATORE peers out of one of the cracks in the window and", "and mildew in the cracks and on the roof. The square has changed completely, is \n\tunrecognizable. Buildings, stores, sign boards and lines of cars creeping at a", "SALVATORE's face, stiff, unmoving, his eyes fixed on those falling ruins, on \n\tthat season of his life turning into smoke and dust. Enveloped in the white", "tearing it down...A pity!...\n\t\n\tSALVATORE is disconcerted, irritated by that 'Mr. Di Vita'. Besides, finding", "desperately and falls to the floor. Meanwhile the flames envelop everything.\n\t\n\t30 SQUARE.EXT.EVENING" ], [ "frightens him. There is something new in ALFREDO'S manner, as if having grazed \n\tdeath and the loss of his sight had endowed him with a deeper knowledge of men", "ELENA' S VOICE \n\t\t\t(Off-screen) \n\t\tI thought Alfredo couldn't see me. So", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "ALFREDO knows exactly what the little rascal is up to, and answers in a \n\tstrange, theatrical tone, as if he were repeating something he knows by heart, a", "making his way up with the help of his cane. SALVATORE freezes to the spot. \n\tALFREDO senses his disappointment.", "And he stares at ALFREDO with a sly, saucy look. ALFREDO clutches his hand, \n\tdarts forth like an arrow and is about to give him a kick in the ass. He", "objects fall on him. Using the same blanket, he stamps out the flames that have \n\tseared ALFREDO'S clothes. With the force of desperation, he drags him further", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "ahead, reach the upper housing. It's like an explosion. The flames leap out, \n\tstriking him full in the face. ALFREDO doesn't have time to scream, struggles", "made out, appearing and disappearing...It is ALFREDO, the\n\tprojectionist. He is around forty, skinny and bony with a tough", "ALFREDO is concentrated, as if SALVATORE'S description transmitted the \n\treal image to him, the colours, the forms. The railway station has appeared on", "ALFREDO'S reaction, but pricks up his courage and shows him the\n\tpacket. ALFREDO sees him, is about to pounce on him...", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "of the fire. The flames on the floor burn his legs. ALFREDO gives a jump, slows \n\tdown the movement of his hands for an instant and inevitably the flames run", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "talking, ALFREDO usually sings to himself. SALVATORE stands beside\n\thim, taking in everything he does with those quick, thieving eyes of his", "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "there!' \n\t\t\t(And he bursts into \n\t\t\tnervous laughter. But this \n\t\t\ttime ALFREDO remains cold," ], [ "CICCIO SPACCAFICO, the man who won the Sisal pools, comes up, dressed in style. \n\tHe looks up at the charred cinema. It looks like a battlefield after an enemy", "BOCCIA finally reaches the old movie house, which has been more or less spruced \n\tup. Here too people are lined up in front of the posters of Catene. CICCIO", "As the BILL-POSTER attaches to the café door a poster of Catene - the\n\tcoming attraction at the Cinema Paradiso - CICCIO SPACCAFICO is", "...The great lighted sign of the CINEMA PARADISO . The movie house has been \n\trebuilt. New facade. New billboards. There are people", "her FATHER is the owner of the movie house, SPACCAFICO, who thanks him.\n\t\n\t\t\t\tSPACCAFICO", "it to the outdoor movie house. The USHER has hung a sign on the Cinema Paradiso \n\tto the effect that 'Showings to continue at the Imperia Arena', and now climbs", "to a halt. It is ALFREDO'S last farewell to the place where he had spent the \n\tbest years of his life the Cinema Paradiso. Everyone turns to look and", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "The lobby is crowded with people, authorities, special guests. There is the \n\tMAYOR, FATHER ADELFIO and the new owner, CICCIO SPACCAFICO, dressed to the", "Meanwhile BOCCIA pedals his way swiftly through the countryside on his way to \n\tthe Cinema Paradiso...", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "FADE.\n\t\n\tNow BOCCIA is on his way back to the old movie house. To carry out another", "We let him in free. He must have lost \n\t\tthe money inside the movie\n\t\ttheatre...\n\t\t\t(SALVATORE stares at him", "35 SQUARE AND CINEMA PARADISO. EXT. EVENING \n\t\n\tThe fire has been put out. Nothing remains of the movie house but the skeleton.", "SPACCAFICO is waiting impatiently on an outside staircase. He too is holding a \n\tsack, containing the first part of the film. The bicycle pulls up in front of", "The crowd now moves over to the huge empty space where the movie house once \n\tstood. The murmuring voices are drowned out by the deafening roar of an", "SALVATORE turns towards the Cinema Paradiso. The projectionist is at the \n\twindow of the booth, smoking a cigarette. Who knows who he is, where he came", "The beam of light shines out of the little square hole of the projection booth \n\tand the screen lights up. A number trailer goes by and then SALVATORE sees the \n\tfirst shots.", "And he snips a piece of film, pastes the ends together and goes on turning the \n\thandle. SALVATORE picks up the strip of film and gives it a closer look. He sees" ], [ "In the large dormitory, the SERGEANT is handing out the mail. He \n\tthrows a pile of letters on SALVATORE'S bunk. They are his letters to ELENA,", "In the confessional, the whispered conversation between SALVATORE and ELENA \n\tcontinues.\n\t\n\t\t\t\tELENA", "SALVATORE \n\t\tForgive me, Elena. It was stupid of \n\t\tme. But I had to talk to you.", "SALVATORE \n\t\tElena...Elena...Elena...\n\t\n\tNow he is sitting outside on the back steps, a few yards from the", "SALVATORE \n\t\tBut I've never forgotten you, Elena! \n\t\n\t\t\t\tELENA", "SALVATORE looks with longing as ELENA drives away with her father. \n\tELENA gives him a meaningful look through the window. SALVATORE returns the", "SALVATORE sits there without moving, pale as a sheet, looks as if he had\n\tgrown even older. As if the whole world has fallen in on him. For ELENA, it was", "Bye-bye, Elena.\n\t\t\t(ELENA walks away. And \n\t\t\tSALVATORE also turns to", "barely heard over the raging sea. It is ELENA's voice. \n\t\n\t\t\t\tELENA \n\t\tSalvatore!", "ELENA and SALVATORE /rear nothing, sit glued to their seats, fixed in the \n\tendless gaze that envelops them. He is the first to break the silence in a faint", "ELENA seems to be saying, Yes. As SALVATORE kisses ELENA, her image disappears. \n\tHe is left with his face against the wall in the white light from the", "ELENA'S VOICE \n\t\t\t(Off-screen) \n\t\tSalvatore, my darling, here the days", "The first part is now about to finish, the reel is almost empty, and ELENA still \n\tisn't there. SALVATORE is extremely nervous, worried, mortified by his meeting", "The old shots of ELENA getting off the train and walking away, casting a curious \n\tlook at the camera...SALVATORE is watching her again, projected on the white", "ELENA crossing a street with her books under her arm. She is alone.\n\tSALVATORE doesn't stop to think twice, dashes off, runs through streets", "And as other shots of ELENA appear on the screen, SALVATORE describes her. As \n\tonly somebody in love could.", "ELENA interrupts him, speaks softly, tenderly.\n\t\n\t\t\t\tELENA \n\t\tNo, Salvatore...there is no future.", "ELENA \n\t\tAll right! ! \n\t\t\t(To Salvatore, in a \n\t\t\twhisper)", "A training run. Another letter which SALVATORE drops into the mailbox...\n\t\n\tA cold, rainy night. SALVATORE stands stiff as a poker in front of the", "(SALVATORE gets the \n\t\t\tmessage, feels guilty. \n\t\t\tThinking about it, it \n\t\t\tseems incredible that he" ], [ "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "SALVATORE goes to see ALFREDO. He is still in bed, has just woken up. He is glad", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "talking, ALFREDO usually sings to himself. SALVATORE stands beside\n\thim, taking in everything he does with those quick, thieving eyes of his", "ALFREDO gives SALVATORE a wooden stool. He's had it made especially for him, so \n\the can be high enough to reach the reels of the projector and the arc lamp.", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "SALVATORE is about to open his mouth, wants to say something\n\tto ALFREDO, but he doesn't have time. ALFREDO pedals harder\n\tand rides off.", "SALVATORE nods his head. He gazes intensely at the coffin covered with flowers \n\tand is grieved as if he were ashamed never to have come to see the man who had", "from SALVATORE's face, we \n\t\t\tsee that he is now a young \n\t\t\tman, and that ALFREDO is", "SALVATORE \n\t\tAlfredo, go fuck yourself!!! \n\t\t\t(But his words are drowned \n\t\t\tout by the sudden shouting", "pass by with a packet in her hand. It is ALFREDO's WIFE, and the packet is his \n\tsupper. SALVATORE leaps to his feet and runs out to her.", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "making his way up with the help of his cane. SALVATORE freezes to the spot. \n\tALFREDO senses his disappointment.", "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "ALFREDO insists with his eyes. SALVATORE makes him understand with gestures \n\tthat he could help him maybe, but...on one condition. He imitates the gesture", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "looks at the desk next to him, where SALVATORE is sitting. SALVATORE is about to \n\tlook up at him, but ALFREDO immediately looks away, too proud to let himself be", "ALFREDO is concentrated, as if SALVATORE'S description transmitted the \n\treal image to him, the colours, the forms. The railway station has appeared on" ], [ "ALFREDO is caught out. He stops the film where another slip of paper is stuck \n\tin and cuts the scene:\n\t\n\t\t\t\tALFREDO", "It consists of all the kisses ALFREDO cut out of the films and kept for him, \n\twhen he was a little boy. They have been spliced together, one , after the", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "created by the slips of paper ALFREDO has inserted into the loops. He\n\tis rewinding the film by hand on the film-winder. When he's not", "made out, appearing and disappearing...It is ALFREDO, the\n\tprojectionist. He is around forty, skinny and bony with a tough", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "ALFREDO slips the reel on to the projector, unrolls the trailer and hands\n\tit to SALVATORE. SALVATORE mounts the film on the sprockets.", "The second part has begun, the reel is full. For the first time in many\n\tyears, ALFREDO is alone in the booth, sitting in front of the projector,", "of winding the crank of the projector. ALFREDO gets the message. It's pure \n\tblackmail. He rubs his hand over his sweating face, raises his eyes to the", "ALFREDO shows SALVATORE the running of the film. He points\n\tto a place on the projector.", "projection booth. Only Alfredo...\n\t\n\tHer voice continues over the scene of same thirty years before...", "ALFREDO gives SALVATORE a wooden stool. He's had it made especially for him, so \n\the can be high enough to reach the reels of the projector and the arc lamp.", "peers out of the window of the projection booth. CAROSIO'S voice drowns out the \n\tsoundtrack of the film being shown. ALFREDO is bored. He goes over to the", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "projector. ALFREDO is taken off-guard. He breaks the film running into the take-\n\tup reel, but is unable to do it for the delivery reel. He grabs the film which", "the film is still showing on the screen. It is.\n\t\n\t\t\t\tALFREDO \n\t\t\t(Mysteriously)", "...the rolling pin ALFREDO uses to flatten out a reel of film that has just \n\tbeen unloaded. SALVATORE carefully watches ALFREDO 5 every move. He is not in", "any more in the movie house. The \n\t\tboy's crazy! Crazy! All he talks \n\t\tabout is movies and Alfredo' Alfredo", "the one ALFREDO had made for him as a little boy so he could climb up and put \n\tthe reels on the projector. \n\t\n\t\t\t\tANNA", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention" ], [ "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "ALFREDO slips the reel on to the projector, unrolls the trailer and hands\n\tit to SALVATORE. SALVATORE mounts the film on the sprockets.", "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "ALFREDO shows SALVATORE the running of the film. He points\n\tto a place on the projector.", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "ALFREDO gives SALVATORE a wooden stool. He's had it made especially for him, so \n\the can be high enough to reach the reels of the projector and the arc lamp.", "MARIA senses his perturbation, remains standing in the doorway as if to leave \n\thim alone...SALVATORE goes over to the bed, looks around the old 8mm movie", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "SALVATORE turns the lights on in the theatre and turns off the projector, trying \n\tto calm down ALFREDO, who has got to his feet, frightened.", "ALFREDO is now sitting there immobile. He listens to the soundtrack of the film. \n\tSALVATORE studies the way he stares into empty space, and the idea of darkness", "ALFREDO's body on the floor, burning. SALVATORE moves quickly, throws a blanket \n\tover his shoulders, drags him by the feet over to the stairs, as boxes and other", "The words 'THE END' appear on the screen...and the film runs out, leaving the \n\tprojector turning uselessly. ALFREDO is alarmed. He can hear that the film is", "...the rolling pin ALFREDO uses to flatten out a reel of film that has just \n\tbeen unloaded. SALVATORE carefully watches ALFREDO 5 every move. He is not in", "to a halt. It is ALFREDO'S last farewell to the place where he had spent the \n\tbest years of his life the Cinema Paradiso. Everyone turns to look and", "ALFREDO starts up the projector. It's time for the documentaries and\n\tcartoons. SALVATORE peers in from the top of the stairs. He's scared of", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another", "A cloud of yellowed scraps of paper flutters into the air and as it falls slowly \n\tto the ground another handful is flung up. SALVATORE is in the projection booth,", "The film starts: it is Visconti's La terra trema. SALVATORE is in bliss. His \n\twide eyes looking up at the magic square of light. The title music. Another OLD", "of winding the crank of the projector. ALFREDO gets the message. It's pure \n\tblackmail. He rubs his hand over his sweating face, raises his eyes to the", "The beam of light shines out of the little square hole of the projection booth \n\tand the screen lights up. A number trailer goes by and then SALVATORE sees the \n\tfirst shots." ], [ "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE'S eye is quick to catch the most unexpected expressions of ordinary \n\tpeople. His movie camera is always ready, like a hunter's rifle. Now he is \n\tshooting...", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another", "SALVATORE examines the can, wonders what it can be. He opens it: inside is a \n\treel of film, wrapped in a plastic bag, well preserved. Those objects bring a", "The film starts: it is Visconti's La terra trema. SALVATORE is in bliss. His \n\twide eyes looking up at the magic square of light. The title music. Another OLD", "SALVATORE runs on. ALFREDO looks wistfully towards the huge image in the \n\tsquare. Down in the square SALVATORE heads for the crowd, his eyes trained on", "A cloud of yellowed scraps of paper flutters into the air and as it falls slowly \n\tto the ground another handful is flung up. SALVATORE is in the projection booth,", "The beam of light shines out of the little square hole of the projection booth \n\tand the screen lights up. A number trailer goes by and then SALVATORE sees the \n\tfirst shots.", "SALVATORE laughs, eagerly, as if he were about to see a whole new movie. He \n\tclimbs off the stool. Both of them move towards the projector...", "MARIA senses his perturbation, remains standing in the doorway as if to leave \n\thim alone...SALVATORE goes over to the bed, looks around the old 8mm movie", "He takes him and turns him towards the stairs. For him the matter is closed. He \n\treturns to the film-winder. SALVATORE sneaks back and while ALFREDO's attention", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "(SALVATORE turns off the \n\t\t\tprojector and heaves a \n\t\t\tdeep sigh, almost of", "SALVATORE walks off towards the viewing theatre. \n\t\n\tSALVATORE is by himself in the small viewing theatre. Now the lights go down.", "And he snips a piece of film, pastes the ends together and goes on turning the \n\thandle. SALVATORE picks up the strip of film and gives it a closer look. He sees", "SALVATORE's lips interrupt her. It is an intense, a stupendous kiss. They've \n\tprobably never been so happy as they are at that moment. They cling to each", "SALVATORE's face, stiff, unmoving, his eyes fixed on those falling ruins, on \n\tthat season of his life turning into smoke and dust. Enveloped in the white", "SALVATORE turns towards the Cinema Paradiso. The projectionist is at the \n\twindow of the booth, smoking a cigarette. Who knows who he is, where he came", "is elsewhere, snatches up a handful of movie frames scattered on the counter, \n\tstuffs them into his pocket and...\n\t\n\t\t\t\tSALVATORE", "SALVATORE'S silhouette stands out against the light in the open door. S lowly he \n\tmakes his way into the empty theatre. A thick layer of dust lends everything a" ], [ "SALVATORE recognizes him, it's the VILLAGE IDIOT, the one who used to close down \n\tthe square at night. Be watches him walk off, raving, with nobody even noticing.", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "SALVATORE rides on. Now he's in the open country. All of a sudden he seems to", "SALVATORE comes streaking up in front of her house. He screeches to a stop, \n\tdashes out like greased lightning. His nerves are tense, a slight tremor runs", "5I VILLAGE STREETS AND COUNTRY ROADS. EXT. EVENING\n\t\n\tSALVATORE has got himself a bicycle and is going off to look for", "The wind is stronger now, the streets and the square are empty. SALVATORE \n\tis at the wheel of the car, driving aimlessly around the town. He has", "SALVATORE smiles at that. Meanwhile, the procession has reached the church. \n\tSALVATORE excuses himself and goes over to the hearse. Old SPACCAFICO watches", "SALVATORE is in the guardhouse. A cold, dark, filthy cell. His nerves start to \n\tgive way. He bows his head in despair.", "SALVATORE also turns, taken by surprise...It has fallen to pieces: doors and \n\twindows boarded shut, crumbling walls, a piece of the sign dangling down, weeds", "SALVATORE has a black eye, swollen shut. He is setting up a little 8mm projector \n\ton a stool. ALFREDO is sitting in one corner. He has come to keep him company.", "SALVATORE looks around; It's a place he's never seen before, and yet it's \n\this mother's house.)", "Giancaldo. SALVATORE is nine years old. Dressed as an altar boy, he\n\tis kneeling by the altar with a little silver bell in his hands. The", "SALVATORE's face, stiff, unmoving, his eyes fixed on those falling ruins, on \n\tthat season of his life turning into smoke and dust. Enveloped in the white", "SALVATORE is driving an old beaten-up Balilla he bought from a\n\tcar-wrecker. ELENA sits beside him, having the time of her life. They", "SALVATORE drops his eyes to the ground, mortified. He knows what's\n\tcoming. He goes over to her timidly, uncertain, gives her a questioning\n\tlook.", "SALVATORE is once again wide awake. He is thinking, with his hand on his face, \n\tjust like then. And the same decision to make: what to do? Stretched out beside", "bicycle. On their way back lo the village.\n\t\n\t\t\t\tSALVATORE \n\t\tAlfredo, did you know my father?", "SALVATORE's lips interrupt her. It is an intense, a stupendous kiss. They've \n\tprobably never been so happy as they are at that moment. They cling to each", "SALVATORE is very flustered. He feels as if all his blood were\n\tthrobbing in his head. He tries to say something else, but the words\n\tcatch in his throat.", "SALVATORE is overwhelmed, moved to tears. It is the most profound act of love he \n\thas ever seen. He laughs as tears shine in his eyes. Up on the screen, another" ], [ "Bye-bye, Elena.\n\t\t\t(ELENA walks away. And \n\t\t\tSALVATORE also turns to", "family has gone to live. SALVATORE drives along in a state of agitation. The \n\tidea of having to leave without seeing ELENA is his obsession. An obsession he", "SALVATORE looks with longing as ELENA drives away with her father. \n\tELENA gives him a meaningful look through the window. SALVATORE returns the", "ELENA \n\t\tWhen are you leaving? \n\t\n\tSALVATORE opens his eyes, tosses away his cigarette.", "reveals the reason for her nervousness.\n\t\n\t\t\t\tELENA \n\t\tNo, Salvatore. You'd better go. It's", "ELENA crossing a street with her books under her arm. She is alone.\n\tSALVATORE doesn't stop to think twice, dashes off, runs through streets", "SALVATORE sits there without moving, pale as a sheet, looks as if he had\n\tgrown even older. As if the whole world has fallen in on him. For ELENA, it was", "(Off-screen) \n\t\tElena! \n\t\n\tELENA climbs down, pulls the chain and walks off, leaving SALVATORE standing", "already been waiting a long time for someone to go by, a car, a wagon. When all \n\tat once a car comes around the bend, heading for town. SALVATORE and ELENA flag", "SALVATORE \n\t\tElena...Elena...Elena...\n\t\n\tNow he is sitting outside on the back steps, a few yards from the", "SALVATORE's shoulder. They go off down the street, towards the\n\tchurch. SALVATORE has finished recounting his misadventure.", "In the confessional, the whispered conversation between SALVATORE and ELENA \n\tcontinues.\n\t\n\t\t\t\tELENA", "The first part is now about to finish, the reel is almost empty, and ELENA still \n\tisn't there. SALVATORE is extremely nervous, worried, mortified by his meeting", "The wind is stronger now, the streets and the square are empty. SALVATORE \n\tis at the wheel of the car, driving aimlessly around the town. He has", "66 ELENA S HOUSE. EXT. NIGHT \n\t\n\tBut SALVATORE is not happy in these first few minutes of the New Year. He feels", "The bus disappears around the corner leaving SALVATORE standing there alone. It \n\tis a blazing hot day. The sirocco wind blows the yellow dust in all directions.", "The old shots of ELENA getting off the train and walking away, casting a curious \n\tlook at the camera...SALVATORE is watching her again, projected on the white", "Hey, cut it out! Go away. Shoo! \n\t\n\tWith a confused look on his face, SALVATORE picks up the sack and walks away,", "with you!!\n\t\n\tSALVATORE gives a shrug and leaves. The PRIEST goes down a", "ELENA interrupts him, speaks softly, tenderly.\n\t\n\t\t\t\tELENA \n\t\tNo, Salvatore...there is no future." ], [ "ELENA interrupts him, speaks softly, tenderly.\n\t\n\t\t\t\tELENA \n\t\tNo, Salvatore...there is no future.", "ELENA is not very interested in the TV show. She sneaks a look at SALVATORE. \n\tFrom the looks on their faces, it is clear that things are not going very well.", "ELENA and SALVATORE /rear nothing, sit glued to their seats, fixed in the \n\tendless gaze that envelops them. He is the first to break the silence in a faint", "The first part is now about to finish, the reel is almost empty, and ELENA still \n\tisn't there. SALVATORE is extremely nervous, worried, mortified by his meeting", "ELENA seems to be saying, Yes. As SALVATORE kisses ELENA, her image disappears. \n\tHe is left with his face against the wall in the white light from the", "Bye-bye, Elena.\n\t\t\t(ELENA walks away. And \n\t\t\tSALVATORE also turns to", "ELENA crossing a street with her books under her arm. She is alone.\n\tSALVATORE doesn't stop to think twice, dashes off, runs through streets", "reveals the reason for her nervousness.\n\t\n\t\t\t\tELENA \n\t\tNo, Salvatore. You'd better go. It's", "And as other shots of ELENA appear on the screen, SALVATORE describes her. As \n\tonly somebody in love could.", "In the confessional, the whispered conversation between SALVATORE and ELENA \n\tcontinues.\n\t\n\t\t\t\tELENA", "SALVATORE looks with longing as ELENA drives away with her father. \n\tELENA gives him a meaningful look through the window. SALVATORE returns the", "SALVATORE \n\t\tForgive me, Elena. It was stupid of \n\t\tme. But I had to talk to you.", "SALVATORE sits there without moving, pale as a sheet, looks as if he had\n\tgrown even older. As if the whole world has fallen in on him. For ELENA, it was", "I'll convince him this time.\n\t\n\t\t\t\tELENA \n\t\tHe won't be convinced, Salvatore. He", "But SALVATORE ignores the question. He doesn't want to change the subject. \n\tHe feels that everything is crumbling inside him, the alibis and excuses he had", "SALVATORE's lips interrupt her. It is an intense, a stupendous kiss. They've \n\tprobably never been so happy as they are at that moment. They cling to each", "66 ELENA S HOUSE. EXT. NIGHT \n\t\n\tBut SALVATORE is not happy in these first few minutes of the New Year. He feels", "SALVATORE \n\t\tElena...Elena...Elena...\n\t\n\tNow he is sitting outside on the back steps, a few yards from the", "SALVATORE \n\t\tNo particular reason...\n\t\t\t(He is entranced by her \n\t\t\teyes. He wants to tell her", "ELENA \n\t\tWhen are you leaving? \n\t\n\tSALVATORE opens his eyes, tosses away his cigarette." ] ]

[ "Where did Salvadore first meet Alfredo?", "After returning home from the military, what advice did Alfredo give Salvadore?", "What part of the shows did the local priest have removed?", "How was Alfredo injured when Cinema Paradiso burned down?", "Upon hearing of Alfredo's passing, how long had it been since Salvadore visited Giancaldo?", "How did Salvadore appear to Alfredo when they first met?", "What was the reel Alfredo left for Salvadore?", "What was Salvadore's childhood nickname?", "What was the fate of Cinema Paradiso?", "What city does the story begin?", "What decade does the story begin?", "What era does the flashback take the story to?", "What is Salvatores' nickname?", "What is the name of the cinema house in the story?", "Who does the main character form a fatherly bond with?", "When a reel explodes, what character goes blind?", "Who has to leave town for military service?", "What item does the main character receive towards the end of the story from a deceased friend?", "What building is found out to be demolished at the end of the story?", "How did Alfredo lose his sight?", "Where did Ciccio get the money from to rebuild the cinema?", "What happened to the letters Salvatore sent to Elena?", "What two things did Alfredo leave for Salvatore after his death?", "Why were there sections missing from the motion picture reels when Alfredo used to screen them?", "What was on the motion picture reel that Alfredo left for Salvatore?", "What does Salvatore's love of cinematography lead him to do in later life?", "What is the name of the village Salvatore grew up in?", "Why did the young Salvatore leave town at the same time as Elena?", "Why doesn't the relationship between Elena and Salvatore work out?" ]

[ [ "The Local Cinema House", "Cinema Paradiso" ], [ "To leave Giancaldo to find his future", "to leave Giancaldo" ], [ "Major romantic scenes", "reomantic" ], [ "He was left blind", "Highly flammable film reels exploded in his face" ], [ "30 years", "30 years" ], [ "As a pest.", "a little bit of a pest" ], [ "The missing romantic scenes from the old shows", "A montage of all the romantic scenes the priest had ordered cut from movies." ], [ "Toto", "Toto" ], [ "It was being torn down for a parking lot.", "torn down to build a parking lot" ], [ "Rome", "Rome." ], [ "1980s", "1980's" ], [ "World War II", "A few years after World War II." ], [ "Toto", "Toto." ], [ "Cinema Paradiso", "Cinema Paradiso" ], [ "Alfredo", "Alfredo" ], [ "Alfredo", "Alfredo" ], [ "Salvatore", "Salvatore" ], [ "A filmreel", "An unlabeled film reel and his old stool." ], [ "Cinema Paradiso", "Cinema Paradiso" ], [ "Reels of film exploded in his face.", "some film reel's exploded in his face" ], [ "From football lottery winnings.", "He won the football (soccer) lottery." ], [ "They were returned as undeliverable.", "returned undelieverable " ], [ "An old stool and an unmarked reel of film.", "an unmarked film reel and an old stool" ], [ "Because the local priest ordered censoring and had the sections removed.", "The priest ordered that sections be cut fro the movies" ], [ "The sections that had been cut out from the reels when Alfredo used to work in the cinema.", "all the censored scenes" ], [ "He becomes a filmmaker.", "become a film director" ], [ "Giancaldo.", "Giancaldo" ], [ "He had compulsory military duty.", "He has required military service." ], [ "Because her father disapproved.", "her father's disapproval " ] ]

[ [ "The nuns are calmed by the tone of Mary Patrick's voice. \n They leave the room to join the others on the bus.\n\n EXT. STREET - DAY", "The nuns surround Christy and head through the crowd in a \n cluster. Joey and Vince pursue them from different \n directions. Just before they catch them, Mother Superior \n barks an order.", "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her.", "Revived Willy lunges for Mary Robert and grabs her. The \n two men hustle the two struggling nuns out the door to the \n alley.\n\n Page 98.", "The couple continues to look stunned as the nuns race out \n of the room.\n\n EXT. CONVENT - NIGHT", "MOTHER SUPERIOR\n Spread out and look for Mary Clarence. \n Try to blend in.\n\n The nuns spread to every part of the room, looking for \n Christy.", "MOTHER SUPERIOR\n Of course. Mary Clarence, a convent is \n not a totalitarian state. Most major", "Christy and Mary Lazarus have corralled the rest of the \n nuns into a practice of intricate dance steps, somewhat", "INT. ST. MATTHEW'S CATHEDRAL - DAY\n\n In the rehearsal room, Mary Robert has just finished \n telling the nuns what happened to Christy.", "Joey and Willy wrestle the two nuns to the open door of \n their car. They shove Christy and Mary Robert into the \n back seat, and Willy climbs in next to them.", "MARY ROBERT\n We could have been killed! But you \n saved me!\n (throwing her arms \n around Christy)\n Thank you, Mary Clarence!", "The nuns climb higher up the building. Mike pursues, \n looking for a shot between the steps and the landings, but \n not finding any openings. He takes the steps two at a time \n and begins to gain ground.", "MARY ROBERT\n Reverend Mother, I know that you and \n Mary Clarence didn't always agree, but --\n we've got to help her.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "ANGLE on the nuns, watching Christy.\n\n MOTHER SUPERIOR\n (reluctantly)\n Very well. Mary Clarence, rise please.", "Across the room, Eddie holds a smoking police revolver. \n The nuns all swarm around Christy joyously.\n\n MARY ROBERT\n Mary Clarence -- you're alive!", "MARY ROBERT\n Wait, this isn't the way. Who are you?\n\n CHRISTY\n They're from my old convent.", "MARY PATRICK\n Excuse me -- has anyone seen a nun?\n\n MARY ROBERT\n A Benedictine.", "MOTHER SUPERIOR\n Mary Lazarus, find the Bishop and tell \n him the situation. Everyone else --\n follow me.\n\n Mother Superior leads the way out the door.", "The new visitors to the church begin to clap in rhythm to \n the music, and after a few beats, the nuns join in. Mother \n Superior is aghast." ], [ "VINCE\n Who gives a damn? Waste her.\n\n Joey and Willy look a little unsure as Vince storms out of \n the room.", "VINCE\n I can't believe this. Okay, I want both \n you guys to go back there, and both of \n you shoot her at the same time.\n\n JOEY\n Yeah...", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "VINCE\n You were both supposed to put your guns \n to her head and shoot.\n\n WILLY\n We both missed.", "VINCE\n Joey?\n\n Joey slams Ernie on the side of the head with the gun.\n\n INT. CORRIDOR", "Once again, Joey and Willy find Vince.\n\n VINCE\n Well?\n\n JOEY\n It didn't work, Vince.", "ANGLE on the office. Ernie is slumped in the chair, dead. \n Joey stands over him, holding the revolver. Joey, Willy \n and Vince stare at Christy.", "Vince gestures to Joey, who takes out a revolver and \n points it at Ernie's head.", "WILLY\n Got it.\n\n Joey points his gun at Christy's left temple, and Willy \n points his gun at her right temple.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "The two Technicians turn toward her, and she is horrified \n to see they are. Joey and Willy. Christy gasps as Willy \n sticks a gun in her ribs. Joey smiles at her.", "Joey and Willy burst out of the room with guns drawn. At \n the far end of the corridor, they spot a glimpse of black \n clothing as Christy starts down the stairs.", "Vince and Joey enter a storage room that is cluttered with \n boxes. Christy is tied to a chair in the back of the room, \n with Willy standing guard over her.", "This really throws Vince, and angers him further. He \n glares at Christy, and then releases her. He turns to Joey \n and Willy.", "Joey and Willy wrestle the two nuns to the open door of \n their car. They shove Christy and Mary Robert into the \n back seat, and Willy climbs in next to them.", "INT. VINCE'S OFFICE\n\n Vince is on the telephone. He signals Joey and Willy, and \n they move quickly toward him.", "Vince leaves the police station with his henchmen, Joey \n and Willy, and LARRY NARREN, an attorney. Vince is \n steaming as they walk through the parking lot.", "WILLY\n Go!\n\n Joey starts the car, and it takes off with SQUEALING \n tires. Willy has his gun pointed at Christy, who sits \n beside Mary Robert.", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!" ], [ "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "Vince gestures to Joey, who takes out a revolver and \n points it at Ernie's head.", "VINCE\n Joey?\n\n Joey slams Ernie on the side of the head with the gun.\n\n INT. CORRIDOR", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "VINCE\n I can't believe this. Okay, I want both \n you guys to go back there, and both of \n you shoot her at the same time.\n\n JOEY\n Yeah...", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "Vince leaves the police station with his henchmen, Joey \n and Willy, and LARRY NARREN, an attorney. Vince is \n steaming as they walk through the parking lot.", "Vince lurches toward Eddie; Larry restrains him. Eddie \n drives off, chuckling.\n\n VINCE\n He's so damn cocky. This is different.", "VINCE\n Who gives a damn? Waste her.\n\n Joey and Willy look a little unsure as Vince storms out of \n the room.", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "VINCE\n You were both supposed to put your guns \n to her head and shoot.\n\n WILLY\n We both missed.", "This really throws Vince, and angers him further. He \n glares at Christy, and then releases her. He turns to Joey \n and Willy.", "Joey and Willy burst out of the room with guns drawn. At \n the far end of the corridor, they spot a glimpse of black \n clothing as Christy starts down the stairs.", "Vince reaches his car. As Joey opens the door for him, \n another car drives by, and stops. Eddie is driving; he \n leans out the window.", "VINCE\n What did who say?\n\n CHRISTY\n Who? The other woman. Your wife.\n\n Vince turns to face Christy, turning on the charm.", "Vince kisses two fingers, and blows the kiss to Christy. \n He leaves.", "Vince kisses Christy's hands again and drops turns away \n and starts putting on his shoes.\n\n CHRISTY\n What?\n (outraged)", "VINCE\n Who else, Ernie? Who else was in on it?\n\n ERNIE\n (moaning)\n No one..." ], [ "Vince is on the telephone in his office at the Moonlight \n Hotel and Casino. He clearly has a new mistress or two.", "VINCE\n What did who say?\n\n CHRISTY\n Who? The other woman. Your wife.\n\n Vince turns to face Christy, turning on the charm.", "VINCE\n What, Vincent? This is me, doll. I \n know you. What did you think you were", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "VINCE\n Babe.\n\n The nun spins around; it is Mother Superior.\n\n MOTHER SUPERIOR\n Sweetheart.", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "VINCE\n Who else, Ernie? Who else was in on it?\n\n ERNIE\n (moaning)\n No one...", "VINCE\n Joey?\n\n JOEY\n Where is she?\n\n Christy steps forward, to the front of the stage.", "VINCE\n There she is!\n\n JOEY\n Which one?\n\n Christy sees Vince pointing at her.", "Vince reaches his car. As Joey opens the door for him, \n another car drives by, and stops. Eddie is driving; he \n leans out the window.", "WILLY\n She's a nun, Vince.", "Packed with gamblers, the room is a flurry of activity. \n Joey works his way through the crowd, then spots Vince near \n the money cage.\n\n JOEY\n We got her.", "INT. VINCE'S OFFICE\n\n Vince is on the telephone. He signals Joey and Willy, and \n they move quickly toward him.", "Mother Superior smiles in a rather evil manner.\n\n INT. VINCE'S OFFICE - DAY", "from Vince, but suddenly sees Joey coming toward her from \n the opposite direction. Trapped for a moment, she has \n panic in her eyes. Suddenly she is flanked by Mother" ], [ "VINCE\n What did who say?\n\n CHRISTY\n Who? The other woman. Your wife.\n\n Vince turns to face Christy, turning on the charm.", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "VINCE\n What, Vincent? This is me, doll. I \n know you. What did you think you were", "Vince kisses Christy's hands again and drops turns away \n and starts putting on his shoes.\n\n CHRISTY\n What?\n (outraged)", "Vince kisses two fingers, and blows the kiss to Christy. \n He leaves.", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "Vince crosses the room, to Christy. He takes her hands in \n his, and kisses them.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "VINCE\n There she is!\n\n JOEY\n Which one?\n\n Christy sees Vince pointing at her.", "Mother Superior smiles in a rather evil manner.\n\n INT. VINCE'S OFFICE - DAY", "VINCE\n (half to Christy, half \n to the mirror)\n You are something else.\n\n Christy turns on a lamp and lights a cigarette.", "Carrying a roast beef sandwich and a can of beer, Vince \n appears from the kitchen and glances at the TV screen to \n see a shot of the convent. He looks at Connie and makes a \n sour face.", "Vince is on the telephone in his office at the Moonlight \n Hotel and Casino. He clearly has a new mistress or two.", "VINCE\n Babe.\n\n The nun spins around; it is Mother Superior.\n\n MOTHER SUPERIOR\n Sweetheart.", "VINCE LAROCCA stands at the mirror, adjusting his clothing \n and checking his hair. Vince is a powerful, charismatic", "VINCE\n Babe, what happened here? Look at you.\n\n CHRISTY\n Good evening, Vincent.", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!" ], [ "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything.", "INT. MOTHER SUPERIOR'S OFFICE - LATER THAT DAY\n\n Mother Superior is seated behind her desk; she is very \n angry. Christy sits across from her.", "NUNS\n (in unison)\n Good morning, Reverend Mother.\n\n MOTHER SUPERIOR\n Good morning, Sisters.", "CHRISTY\n What about me, Reverend Mother? I think \n you were right. I'm just a bad \n influence. Sister show biz.", "MOTHER SUPERIOR\n Through blasphemy? You have corrupted \n the entire choir!", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "The nuns cheer, and cluster around Christy, chattering \n about the upcoming concert, as Mother Superior strides off.\n\n INT. MOTHER SUPERIOR'S OFFICE - DAY", "BISHOP O'HARA\n Reverend Mother, I just wanted to \n congratulate you.\n\n MOTHER SUPERIOR\n Oh?", "MARY ROBERT\n (looking around \n cautiously)\n Are you sure this is what Reverend \n Mother had in mind?\n\n Page 51.", "Mary Robert vips, very loudly. All the other nuns turn \n and stare at Mary Robert, scolding her. Christy waggles \n her finger at Mary Robert, scolding her.", "With mixed emotions, Christy speaks softly.\n\n CHRISTY\n That soon?\n\n Mother Superior is a very interested eavesdropper.", "MOTHER SUPERIOR\n You have, I believe, some minimal \n background in music. Therefore, you are \n to join our choir.\n\n (MORE)", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "MOTHER SUPERIOR\n A part of what? Mary Clarence, it is \n one thing to rabble rouse, to sweep into", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "INT. CORRIDOR\n\n Mother Superior is striding down the hall; she is livid. \n Christy trails behind her, trying to keep up.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "Several of the nuns blink. Bishop O'Hara glances at the \n organ with surprise. Mother Superior sits up with a \n stiffened back and a severe expression.", "CHRISTY\n She said that? Reverend Mother?", "MOTHER SUPERIOR\n (very stern)\n Sit down.\n\n CHRISTY\n What?" ], [ "The nuns have really gotten into the song, with Christy \n encouraging them verbally. They are sounding better and \n better.", "As the song, and the nuns' exuberant dancing, peak, the \n Club Patrons cheer, shouting \"Hallelujah!\" and \"Amen!\"\n\n EXT. STREET - NIGHT", "Christy leads the members of the choir down the middle of \n the street. They get lots of attention each step of the \n way. As each nun raps, the other nuns make rhythmic boom-\n box noises.", "The new visitors to the church begin to clap in rhythm to \n the music, and after a few beats, the nuns join in. Mother \n Superior is aghast.", "The CLUB PATRONS are delighted, and cheer as the nuns start \n to get down.", "For one moment, the nuns all realize they are singing a \n perfect chord. They are elated.\n\n MARY PATRICK\n We did it! We actually sang a chord!", "In the front row, Mother Superior is trying to resist the \n music. She gives in, and starts bobbing her head to the \n beat. Beside her, Eddie looks very proud as his eyes meet \n Christy's.", "Several of the nuns blink. Bishop O'Hara glances at the \n organ with surprise. Mother Superior sits up with a \n stiffened back and a severe expression.", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "All the nuns are in the chapel as the choir rehearses a \n hymn, along with Gina and her girlfriends. Those who are", "Mary Robert nods, solemnly. Suddenly, from the streets \n outside the convent, we hear a BLAST OF hot dance MUSIC, \n and the SOUND of laughter and carefree conversation.", "Sister Alma pounds the piano with newfound energy, as Mary \n Robert and the sopranos reach higher and higher for notes \n they've only dreamed of in the past.", "At the end of the solo, Christy makes a gesture to the \n choir, and each member produces a tambourine. The chapel \n is full of energy, music and life.", "Sister Alma starts playing a doo-wop vamp. Mary Patrick \n and Mary Robert step forward from the choir, standing \n beside Christy the way the Ronelles used to do.", "read \"St. Kate!\" People gather in the street, watching the \n nuns' activities. The convent begins to crackle with \n energy and life.", "Christy and Mary Lazarus have corralled the rest of the \n nuns into a practice of intricate dance steps, somewhat", "The nuns give him room, and the Driver zips off down the \n street. A small crowd has begun to gather, and it is", "The gorgeous, exciting MUSIC pours into the street. \n Everyone turns to look. Windows open and people glance \n out. The street takes on a new movement.\n\n INT. CHAPEL", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins." ], [ "VINCE\n What, Vincent? This is me, doll. I \n know you. What did you think you were", "VINCE\n What did who say?\n\n CHRISTY\n Who? The other woman. Your wife.\n\n Vince turns to face Christy, turning on the charm.", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "EDDIE\n But you'd have to agree to testify. The \n whole nine yards.\n\n CHRISTY\n And if I don't?", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "VINCE\n Who else, Ernie? Who else was in on it?\n\n ERNIE\n (moaning)\n No one...", "EDDIE \n I've been worried about you.\n\n Eddie sits on the bed beside Christy.\n\n CHRISTY\n You mean -- worried about my testimony?", "VINCE\n You want me to go against a priest? Get \n excommunicated? You think I'm nuts?\n\n CHRISTY\n You bastard!", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT", "VINCE\n Babe.\n\n The nun spins around; it is Mother Superior.\n\n MOTHER SUPERIOR\n Sweetheart.", "Vince leaves the police station with his henchmen, Joey \n and Willy, and LARRY NARREN, an attorney. Vince is \n steaming as they walk through the parking lot.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "WILLY\n She's a nun, Vince.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "VINCE\n Get her!\n\n JOEY\n Which one!\n\n Page 112.\n\n VINCE\n The nun!", "VINCE\n I want us to be together. Like people. \n Honest, decent people. In the eyes of \n God. Babe, today... I went to \n confession.", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "EDDIE\n What did you expect? Vince is as dirty \n as they come. We've been finding bodies \n around here for years.", "LARRY\n I can't hear this. I'm an attorney, \n Vince, and you're just an honest casino \n owner. Object of a witch hunt. Innocent \n victim." ], [ "EDDIE\n We could put you into our witness \n protection program.\n\n TATE\n A hiding place. \n\n CLARKSON\n A new identity.", "As the last nun in the procession enters the chapel, she \n closes the door behind her. Across the lobby, the front \n door opens and Eddie enters with a very reluctant Christy.", "Lawanda and her friends watch Joey and Willy pounding on \n the convent door.\n\n LAWANDA\n You dudes looking for nuns? They all \n went to St. Matthew's.", "onto the bus. A moment later, Eddie's police car streaks \n up to the side entrance of the convent, parking around the \n corner from the bus.", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "professional entertainer. She witnessed \n a vicious crime, and has been hiding in \n our convent.", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "MOTHER SUPERIOR\n All right. It's a beginning. Las \n Vegas, Nevada.\n\n All the nuns hurriedly cross themselves.", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and", "Eddie and Bishop 0'Hara are leaving, by the convent's \n front door. As they exit, they hear the CHOIR, singing \n horribly. They both wince at the sound, and then chuckle.", "corner, marking a changing area. Christy is behind the \n screen; we hear her, but do not see her, Mother Superior \n stands beside the screen, catching the various items of", "Joey and Willy park their car in front of the convent, get \n out quickly and climb the steps to the front door. They \n ring the bell.", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "Police pour into the room and gather up Joey, Willy and \n Vince. Eddie walks over to Christy and Mother Superior.\n\n EDDIE\n Don't you have a concert to go to?" ], [ "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "They sound fantastic. Their voices blend with a heavenly \n harmony as they sing the slow, melodic hymn. Mother \n Superior is startled by this new sound.\n\n EXT. STREET", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "Mary Lazarus raises her hand, and the choir begins \n singing. They sing a traditional hymn, \"Let Thy Thoughts Be", "The nuns have really gotten into the song, with Christy \n encouraging them verbally. They are sounding better and \n better.", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "As the song, and the nuns' exuberant dancing, peak, the \n Club Patrons cheer, shouting \"Hallelujah!\" and \"Amen!\"\n\n EXT. STREET - NIGHT", "Christy leads the members of the choir down the middle of \n the street. They get lots of attention each step of the \n way. As each nun raps, the other nuns make rhythmic boom-\n box noises.", "All the nuns are in the chapel as the choir rehearses a \n hymn, along with Gina and her girlfriends. Those who are", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "Mary Lazarus hands Christy a hymnal, and raps her baton. \n The choir begins to sing; Christy doesn't even bother", "Sister Alma pounds the piano with newfound energy, as Mary \n Robert and the sopranos reach higher and higher for notes \n they've only dreamed of in the past.", "Sister Alma starts playing a doo-wop vamp. Mary Patrick \n and Mary Robert step forward from the choir, standing \n beside Christy the way the Ronelles used to do.", "Sister Alma hits the note. Christy shuffles a couple of \n more nuns to other sections, then gets a third note going \n with the altos, using her pitchpipe.", "At the end of the solo, Christy makes a gesture to the \n choir, and each member produces a tambourine. The chapel \n is full of energy, music and life.", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT" ], [ "EDDIE\n We could put you into our witness \n protection program.\n\n TATE\n A hiding place. \n\n CLARKSON\n A new identity.", "professional entertainer. She witnessed \n a vicious crime, and has been hiding in \n our convent.", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "As the last nun in the procession enters the chapel, she \n closes the door behind her. Across the lobby, the front \n door opens and Eddie enters with a very reluctant Christy.", "onto the bus. A moment later, Eddie's police car streaks \n up to the side entrance of the convent, parking around the \n corner from the bus.", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "Police pour into the room and gather up Joey, Willy and \n Vince. Eddie walks over to Christy and Mother Superior.\n\n EDDIE\n Don't you have a concert to go to?", "EDDIE\n You're... you're a nun.\n\n Eddie and Christy jump apart, their intimacy has \n frightened them both, particularly given Christy's outfit, \n and their location.", "Christy and Eddie hurry down the steps to the side \n entrance, and she almost trips on her choral robes. Eddie \n opens the door and starts outside, but Christy stops in her \n tracks.", "CHRISTY\n Like what?\n\n EDDIE\n Keeping our witnesses alive. We hide \n them, but there's a leak in the \n department, and they end up dead.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "Eddie and Bishop 0'Hara are leaving, by the convent's \n front door. As they exit, they hear the CHOIR, singing \n horribly. They both wince at the sound, and then chuckle.", "WILLY\n She's a nun, Vince.", "MARY LAZARUS\n Is it worth it? A lot of witnesses \n here.\n\n CHRISTY\n (to the crowd)\n Can I get a witness?", "CHRISTY\n It wasn't my fault! They just showed \n up. It's helping the convent.\n\n EDDIE\n You're supposed to be hiding out!", "MIKE\n That she's a nun! That chick you're \n looking for -- she's a nun!\n\n WILLY\n What? Christy?", "For introducing a lounge act into my \n convent. For utterly disrupting our way \n of life. And for placing all of us in \n mortal danger.", "The nuns surround Christy and head through the crowd in a \n cluster. Joey and Vince pursue them from different \n directions. Just before they catch them, Mother Superior \n barks an order.", "EDDIE \n I've been worried about you.\n\n Eddie sits on the bed beside Christy.\n\n CHRISTY\n You mean -- worried about my testimony?" ], [ "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "corner, marking a changing area. Christy is behind the \n screen; we hear her, but do not see her, Mother Superior \n stands beside the screen, catching the various items of", "As the last nun in the procession enters the chapel, she \n closes the door behind her. Across the lobby, the front \n door opens and Eddie enters with a very reluctant Christy.", "INT. CONVENT\n\n Eddie runs into the convent and finds Mother Superior at \n the bottom of the stairs.", "Christy and Eddie hurry down the steps to the side \n entrance, and she almost trips on her choral robes. Eddie \n opens the door and starts outside, but Christy stops in her \n tracks.", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "onto the bus. A moment later, Eddie's police car streaks \n up to the side entrance of the convent, parking around the \n corner from the bus.", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "Mother Superior watches this scene, hidden in the shadows \n by the door to the kitchen. She has begun to see Christy \n in a new light. She looks thoughtful, and walks off.", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "INT. ST. MATTHEW'S CATHEDRAL\n\n Eddie rushes into the lobby and sees Bishop O'Hara.\n\n EDDIE\n Where is she?", "CHRISTINE\n Hi, Jimmy.\n\n Christine slips inside the closet and closes the door \n behind her.\n\n ANGLE ON SISTER IMMACULATA", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and", "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her.", "They sound fantastic. Their voices blend with a heavenly \n harmony as they sing the slow, melodic hymn. Mother \n Superior is startled by this new sound.\n\n EXT. STREET", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "professional entertainer. She witnessed \n a vicious crime, and has been hiding in \n our convent." ], [ "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "The nuns all react with shock and emotion.\n\n MARY ROBERT\n An... entertainer?\n\n MARY PATRICK\n She wasn't a nun?", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "here, you will conduct yourself as a nun. \n Only I shall know who, and what, you \n truly are. You will not disrupt the", "MARY ROBERT\n She said they were from her old convent.\n\n MOTHER SUPERIOR\n But... she was a showgirl. She didn't \n have an old convent.", "Christy is standing before a full-length mirror, staring \n at herself, in complete shock. She now wears a habit and \n wimple. Mother Superior is doing final adjustments on the \n wimple.", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "corner, marking a changing area. Christy is behind the \n screen; we hear her, but do not see her, Mother Superior \n stands beside the screen, catching the various items of", "They sound fantastic. Their voices blend with a heavenly \n harmony as they sing the slow, melodic hymn. Mother \n Superior is startled by this new sound.\n\n EXT. STREET", "MIKE\n That she's a nun! That chick you're \n looking for -- she's a nun!\n\n WILLY\n What? Christy?", "As the last nun in the procession enters the chapel, she \n closes the door behind her. Across the lobby, the front \n door opens and Eddie enters with a very reluctant Christy.", "professional entertainer. She witnessed \n a vicious crime, and has been hiding in \n our convent.", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "EDDIE\n You're... you're a nun.\n\n Eddie and Christy jump apart, their intimacy has \n frightened them both, particularly given Christy's outfit, \n and their location.", "There are twelve nuns in the room, going over sheet music. \n Mary Lazarus is the group's leader; Mary Patrick and Mary \n Robert are also in the choir. Christy appears at the door, \n grimacing.", "Christy is fast asleep. There is a RAPPING at the door.\n\n MARY ROBERT (0.S.)\n Sister Mary Clarence!" ], [ "The choir seems very demoralized as they finish the hymn. \n Mary Patrick is close to tears.\n\n MARY PATRICK\n We sound terrible We need Mary \n Clarence.", "Mary Lazarus hands Christy a hymnal, and raps her baton. \n The choir begins to sing; Christy doesn't even bother", "Mary Lazarus raises her hand, and the choir begins \n singing. They sing a traditional hymn, \"Let Thy Thoughts Be", "So, Mary Clarence, you think you can do \n better. I believe I'd like to see that.\n (she hands Christy her", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "The choir begins a radically new version of the same hymn. \n Christy strides up and down in front of the choir,", "The rehearsal room is filled with high energy as the choir \n is separated into several groups. Christy has got the \n whole thing running like a disciplined Broadway cast.", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "At the end of the solo, Christy makes a gesture to the \n choir, and each member produces a tambourine. The chapel \n is full of energy, music and life.", "MARY PATRICK\n (eagerly)\n Really, Mary Clarence? Were you a \n choirmistress?", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "Everyone falls silent. Mary Lazarus walks across the \n room, eyeballing each member of the choir.", "Sister Alma pounds the piano with newfound energy, as Mary \n Robert and the sopranos reach higher and higher for notes \n they've only dreamed of in the past.", "Christy leads the members of the choir down the middle of \n the street. They get lots of attention each step of the \n way. As each nun raps, the other nuns make rhythmic boom-\n box noises.", "As the chord grows in force, Christy gives the choir a \n beat.\n\n CHRISTY\n One, two, three...", "Mary Robert finally lets out her full voice, which is huge \n and glorious. After singing a single perfect note, she \n stops abruptly; she has scared herself.\n\n MARY ROBERT\n Oh my!", "Sister Alma starts playing a doo-wop vamp. Mary Patrick \n and Mary Robert step forward from the choir, standing \n beside Christy the way the Ronelles used to do.", "The choir builds to a huge gospel finish, all keeping \n their eyes on Christy.\n\n CHOIR\n LET THY SPIRIT", "MARY ROBERT\n Mary Clarence has a background in music. \n That's what Reverend Mother said.", "MARY LAZARUS\n Tell me about it.\n\n Christy and Mary Lazarus shake hands, firmly. Christy \n turns to the choir, very businesslike." ], [ "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "Vince is on the telephone in his office at the Moonlight \n Hotel and Casino. He clearly has a new mistress or two.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "Packed with gamblers, the room is a flurry of activity. \n Joey works his way through the crowd, then spots Vince near \n the money cage.\n\n JOEY\n We got her.", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT", "Vince reaches his car. As Joey opens the door for him, \n another car drives by, and stops. Eddie is driving; he \n leans out the window.", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "INT. VINCE'S OFFICE\n\n Vince is on the telephone. He signals Joey and Willy, and \n they move quickly toward him.", "VINCE\n Find 'em!\n\n Willy moves off to find the light switch. There is a \n flash of black and white fabric behind some chairs.", "Mother Superior smiles in a rather evil manner.\n\n INT. VINCE'S OFFICE - DAY", "Vince leaves the police station with his henchmen, Joey \n and Willy, and LARRY NARREN, an attorney. Vince is \n steaming as they walk through the parking lot.", "VINCE\n Babe.\n\n The nun spins around; it is Mother Superior.\n\n MOTHER SUPERIOR\n Sweetheart.", "VINCE\n What, Vincent? This is me, doll. I \n know you. What did you think you were", "EDDIE\n What did you expect? Vince is as dirty \n as they come. We've been finding bodies \n around here for years.", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "Seconds later, Joey and Willy appear.\n\n JOEY\n Find Vince and tell him what happened. \n I'll take this side of the room.", "VINCE\n There she is!\n\n JOEY\n Which one?\n\n Christy sees Vince pointing at her." ], [ "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "VINCE\n I can't believe this. Okay, I want both \n you guys to go back there, and both of \n you shoot her at the same time.\n\n JOEY\n Yeah...", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "VINCE\n Joey?\n\n Joey slams Ernie on the side of the head with the gun.\n\n INT. CORRIDOR", "VINCE\n You were both supposed to put your guns \n to her head and shoot.\n\n WILLY\n We both missed.", "Vince lurches toward Eddie; Larry restrains him. Eddie \n drives off, chuckling.\n\n VINCE\n He's so damn cocky. This is different.", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "VINCE\n What did who say?\n\n CHRISTY\n Who? The other woman. Your wife.\n\n Vince turns to face Christy, turning on the charm.", "Vince kisses Christy's hands again and drops turns away \n and starts putting on his shoes.\n\n CHRISTY\n What?\n (outraged)", "VINCE\n What, Vincent? This is me, doll. I \n know you. What did you think you were", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "EDDIE\n Vince has put out a contract on you. A \n hundred grand. You've seen him in \n action.", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!", "VINCE\n Who else, Ernie? Who else was in on it?\n\n ERNIE\n (moaning)\n No one...", "VINCE\n Who gives a damn? Waste her.\n\n Joey and Willy look a little unsure as Vince storms out of \n the room.", "INT. VINCE'S OFFICE\n\n The interrogation continues.\n\n ERNIE\n I didn't tell the cops anything. I \n swear.", "WILLY\n She's a nun, Vince." ], [ "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her.", "All the nuns look at one another. Then, slowly, one by \n one, they all raise their hands.", "The couple continues to look stunned as the nuns race out \n of the room.\n\n EXT. CONVENT - NIGHT", "The nuns are out in force, painting the walls of the \n convent, mostly with rainbows and flowers and bright,", "Christy and Mary Lazarus have corralled the rest of the \n nuns into a practice of intricate dance steps, somewhat", "The car's bright lights suddenly switch on, and the nuns \n turn, startled. The car hurtles toward them. They scream,", "The nuns have really gotten into the song, with Christy \n encouraging them verbally. They are sounding better and \n better.", "here, you will conduct yourself as a nun. \n Only I shall know who, and what, you \n truly are. You will not disrupt the", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "EXT. CONVENT HALLWAY\n\n All the nuns are proceeding, in their simple robes and \n nightshirts, down the hallway.", "ANOTHER NUN\n Please?\n\n ANOTHER NUN\n You've heard us.\n\n MARY LAZARUS\n Well.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "Christy looks up from her reverie; she looks around. The \n other nuns are bathing, their eyes down. There is no sign \n of singing. Christy decides to try a test.", "The new visitors to the church begin to clap in rhythm to \n the music, and after a few beats, the nuns join in. Mother \n Superior is aghast.", "The nuns are calmed by the tone of Mary Patrick's voice. \n They leave the room to join the others on the bus.\n\n EXT. STREET - DAY", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "A FEW OF THE NUNS\n (still very softly)\n HEY-LA, HEY-LA", "A Catholic school bus pulls up to the convent and parks in \n front. Several nuns in choir robes come outside and hurry", "All the nuns are in the chapel as the choir rehearses a \n hymn, along with Gina and her girlfriends. Those who are", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and" ], [ "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "Police pour into the room and gather up Joey, Willy and \n Vince. Eddie walks over to Christy and Mother Superior.\n\n EDDIE\n Don't you have a concert to go to?", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "Mother Superior smiles in a rather evil manner.\n\n INT. VINCE'S OFFICE - DAY", "from Vince, but suddenly sees Joey coming toward her from \n the opposite direction. Trapped for a moment, she has \n panic in her eyes. Suddenly she is flanked by Mother", "The nuns surround Christy and head through the crowd in a \n cluster. Joey and Vince pursue them from different \n directions. Just before they catch them, Mother Superior \n barks an order.", "Mother Superior's jaw locks. She realizes she is stuck \n with the situation and will have to control it as best she \n can. There is a KNOCK at the door, and Eddie and Christy \n enter.", "MARY ROBERT\n It will be wonderful, Reverend Mother. \n You'll see.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything.", "MARY ROBERT\n (looking around \n cautiously)\n Are you sure this is what Reverend \n Mother had in mind?\n\n Page 51.", "The nuns all look to Mother Superior for an answer.\n\n MOTHER SUPERIOR\n Calm down. Think clearly. Mary Robert, \n do you have any idea who those men were?", "VINCE\n Babe.\n\n The nun spins around; it is Mother Superior.\n\n MOTHER SUPERIOR\n Sweetheart.", "MARY ROBERT\n Reverend Mother, I know that you and \n Mary Clarence didn't always agree, but --\n we've got to help her.", "Mother Superior has returned, with Mary Patrick. Everyone \n has been so wrapped up in the discussion, that no one has \n noticed their entrance.", "Revived Willy lunges for Mary Robert and grabs her. The \n two men hustle the two struggling nuns out the door to the \n alley.\n\n Page 98.", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "Vince grabs the front of Christy's habit and squeezes it \n tightly around her throat.\n\n VINCE\n She's afraid. Come on, tell the boys \n you're afraid.", "Mother Superior watches this scene, hidden in the shadows \n by the door to the kitchen. She has begun to see Christy \n in a new light. She looks thoughtful, and walks off.", "MARY PATRICK\n Oh, she's doing just fine, Reverend \n Mother -\n\n Page 45.\n\n CHRISTY\n Really catching on." ], [ "At the end of the solo, Christy makes a gesture to the \n choir, and each member produces a tambourine. The chapel \n is full of energy, music and life.", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "In the front row, Mother Superior is trying to resist the \n music. She gives in, and starts bobbing her head to the \n beat. Beside her, Eddie looks very proud as his eyes meet \n Christy's.", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "As the song, and the nuns' exuberant dancing, peak, the \n Club Patrons cheer, shouting \"Hallelujah!\" and \"Amen!\"\n\n EXT. STREET - NIGHT", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "For one moment, the nuns all realize they are singing a \n perfect chord. They are elated.\n\n MARY PATRICK\n We did it! We actually sang a chord!", "or more, including Lawanda and her friends. Christy looks \n happier than she has in years.", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "After the final note, everyone in the chapel is \n exhilarated -- everyone except Mother Superior. Christy \n looks out at the congregation that has increased by a dozen", "They sound fantastic. Their voices blend with a heavenly \n harmony as they sing the slow, melodic hymn. Mother \n Superior is startled by this new sound.\n\n EXT. STREET", "The nuns have really gotten into the song, with Christy \n encouraging them verbally. They are sounding better and \n better.", "Mary Robert finally lets out her full voice, which is huge \n and glorious. After singing a single perfect note, she \n stops abruptly; she has scared herself.\n\n MARY ROBERT\n Oh my!", "Sister Alma pounds the piano with newfound energy, as Mary \n Robert and the sopranos reach higher and higher for notes \n they've only dreamed of in the past.", "Sister Alma hits the note. Christy shuffles a couple of \n more nuns to other sections, then gets a third note going \n with the altos, using her pitchpipe.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "Eddie stands in the back of the chapel, watching a Christy \n he has never seen before. Christy is now glowing with \n happiness and confidence.", "The gorgeous, exciting MUSIC pours into the street. \n Everyone turns to look. Windows open and people glance \n out. The street takes on a new movement.\n\n INT. CHAPEL", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works." ], [ "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "Christy is fast asleep. There is a RAPPING at the door.\n\n MARY ROBERT (0.S.)\n Sister Mary Clarence!", "CHRISTY\n So, hi there. I'm... Sister Mary \n Clarence. And you're... young", "MOTHER SUPERIOR\n Of course. Mary Clarence, a convent is \n not a totalitarian state. Most major", "ANGLE on the nuns, watching Christy.\n\n MOTHER SUPERIOR\n (reluctantly)\n Very well. Mary Clarence, rise please.", "MOTHER SUPERIOR\n A part of what? Mary Clarence, it is \n one thing to rabble rouse, to sweep into", "MARY ROBERT\n Mary Clarence has a background in music. \n That's what Reverend Mother said.", "Mother Superior appears.\n\n MOTHER SUPERIOR\n Mary Clarence -- how is your weaving \n progressing?", "There are twelve nuns in the room, going over sheet music. \n Mary Lazarus is the group's leader; Mary Patrick and Mary \n Robert are also in the choir. Christy appears at the door, \n grimacing.", "MOTHER SUPERIOR\n As of now, and until you leave, you are \n Sister Mary Clarence.", "MOTHER SUPERIOR\n Mary Clarence comes to us from a \n somewhat more progressive convent. She", "Sister Alma starts playing a doo-wop vamp. Mary Patrick \n and Mary Robert step forward from the choir, standing \n beside Christy the way the Ronelles used to do.", "MARY PATRICK\n Reverend Mother, on behalf of the \n sisters, I'd like to welcome Mary \n Clarence to St. Katherine's.", "CHRISTY\n (outraged)\n Mary Clarence? Like a guy? Like a dumb \n guy?\n\n INT. CONVENT HALLWAY - A MINUTE LATER", "The choir seems very demoralized as they finish the hymn. \n Mary Patrick is close to tears.\n\n MARY PATRICK\n We sound terrible We need Mary \n Clarence.", "Christy breathes deep, and then lets out a whoop. She \n spins, letting her habit billow around her.\n\n MARY ROBERT\n (shocked)\n Mary Clarence!", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "The nuns all react with shock and emotion.\n\n MARY ROBERT\n An... entertainer?\n\n MARY PATRICK\n She wasn't a nun?" ], [ "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "The nuns all react with shock and emotion.\n\n MARY ROBERT\n An... entertainer?\n\n MARY PATRICK\n She wasn't a nun?", "Several of the nuns blink. Bishop O'Hara glances at the \n organ with surprise. Mother Superior sits up with a \n stiffened back and a severe expression.", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "Eddie and Bishop 0'Hara are leaving, by the convent's \n front door. As they exit, they hear the CHOIR, singing \n horribly. They both wince at the sound, and then chuckle.", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and", "INT. CONVENT\n\n Eddie runs into the convent and finds Mother Superior at \n the bottom of the stairs.", "MARY ROBERT\n She said they were from her old convent.\n\n MOTHER SUPERIOR\n But... she was a showgirl. She didn't \n have an old convent.", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "They sound fantastic. Their voices blend with a heavenly \n harmony as they sing the slow, melodic hymn. Mother \n Superior is startled by this new sound.\n\n EXT. STREET", "onto the bus. A moment later, Eddie's police car streaks \n up to the side entrance of the convent, parking around the \n corner from the bus.", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "Eddie comes down the steps, glances back at the convent, \n smiles to himself, then crosses the street to his car.\n\n Page 82.\n\n INT. CHAPEL", "Don't you get it? I'm in a convent! \n You're a nun!", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything.", "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her." ], [ "The choir seems very demoralized as they finish the hymn. \n Mary Patrick is close to tears.\n\n MARY PATRICK\n We sound terrible We need Mary \n Clarence.", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "Eddie and Bishop 0'Hara are leaving, by the convent's \n front door. As they exit, they hear the CHOIR, singing \n horribly. They both wince at the sound, and then chuckle.", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "Vince leaves the room, and we see Christy again as she \n leads the choir.\n\n INT. EDDIE'S APARTMENT - NIGHT", "Clapping his hands briskly, the FLOOR DIRECTOR suddenly \n steps forward from behind the TV cameras and hustles the \n choir away from the altar.", "The choir continues its dreadful rendition of the hymn \n Let Thy Thoughts He Guided. Christy is not singing; she", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "MOTHER SUPERIOR\n Through blasphemy? You have corrupted \n the entire choir!", "trying. She is horrified; the choir is the worst-sounding \n group in history. They seem to be singing in several", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "Everyone falls silent. Mary Lazarus walks across the \n room, eyeballing each member of the choir.", "Mary Lazarus raises her hand, and the choir begins \n singing. They sing a traditional hymn, \"Let Thy Thoughts Be", "Christy leads the members of the choir down the middle of \n the street. They get lots of attention each step of the \n way. As each nun raps, the other nuns make rhythmic boom-\n box noises.", "The nuns all react with shock and emotion.\n\n MARY ROBERT\n An... entertainer?\n\n MARY PATRICK\n She wasn't a nun?", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "For one moment, the nuns all realize they are singing a \n perfect chord. They are elated.\n\n MARY PATRICK\n We did it! We actually sang a chord!", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my" ], [ "MOTHER SUPERIOR\n But, Bishop, surely you realize -- this \n is a most dangerous neighborhood.", "EDDIE\n She's counting on it. She's concerned \n for your safety, but she wants me to try \n and find another convent that will take \n you. Or a carnival.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "MOTHER SUPERIOR\n From all I've heard, just about \n everything. Your singing career seems \n all but nonexistent, and your married \n lover wants you dead.\n (MORE)", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "For introducing a lounge act into my \n convent. For utterly disrupting our way \n of life. And for placing all of us in \n mortal danger.", "professional entertainer. She witnessed \n a vicious crime, and has been hiding in \n our convent.", "As the last nun in the procession enters the chapel, she \n closes the door behind her. Across the lobby, the front \n door opens and Eddie enters with a very reluctant Christy.", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "from Vince, but suddenly sees Joey coming toward her from \n the opposite direction. Trapped for a moment, she has \n panic in her eyes. Suddenly she is flanked by Mother", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "MOTHER SUPERIOR\n She shouldn't have come back. She knew \n she was in danger.\n\n MARY PATRICK\n But -- why would anyone kidnap a nun?", "Mother Superior's jaw locks. She realizes she is stuck \n with the situation and will have to control it as best she \n can. There is a KNOCK at the door, and Eddie and Christy \n enter.", "Christy and Eddie hurry down the steps to the side \n entrance, and she almost trips on her choral robes. Eddie \n opens the door and starts outside, but Christy stops in her \n tracks.", "EDDIE\n You're... you're a nun.\n\n Eddie and Christy jump apart, their intimacy has \n frightened them both, particularly given Christy's outfit, \n and their location.", "Mother Superior takes one more glance around, then leaves.\n\n Now that the coast is clear, the singing begins again, \n quietly, to the rhythm of the machine.", "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything.", "O'HARA\n Your small convent is in danger of \n closing, Reverend Mother. The Las Vegas \n Police Department has offered to make a \n generous financial donation." ], [ "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "Eddie's police car streaks through crowded streets.\n\n INT. EDDIE'S CAR\n\n Christy still looks unsettled.", "CHRISTY\n What is this, some squeeze play? Can't \n you just protect me without any strings?\n\n The three detectives move in closer now and really apply \n the pressure.", "In the front row, Mother Superior is trying to resist the \n music. She gives in, and starts bobbing her head to the \n beat. Beside her, Eddie looks very proud as his eyes meet \n Christy's.", "onto the bus. A moment later, Eddie's police car streaks \n up to the side entrance of the convent, parking around the \n corner from the bus.", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "Eddie's police car streaks past an entrance ramp with the \n SIREN screaming. It blazes through traffic, weaving in and", "INT. MULCAHY'S OFFICE\n\n Eddie looks up from his desk as the two detectives enter.", "CHRISTY\n Sing -- like testify? Are you nuts? I \n just want you to protect me! You're \n cops!", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "CHRISTY\n (into phone)\n Let me talk to Detective Eddie Mulcahy. \n It's an emergency. Real bad.", "Police pour into the room and gather up Joey, Willy and \n Vince. Eddie walks over to Christy and Mother Superior.\n\n EDDIE\n Don't you have a concert to go to?", "There's a KNOCK on the door, and Tina opens it. \n Lieutenant Eddie Mulcahy enters. Christy is not pleased.", "EDDIE\n You're the leak, you son-of-a-bitch!\n\n Clarkson and another detective restrain Eddie before he \n can hit Tate.", "Nobody dares even question Eddie at this moment, and two \n detectives drag Tate away. Eddie grabs Tate's phone and \n dials long distance.", "EDDIE\n Yeah. You look... great. I mean it..\n\n CHRISTY\n (flirting)\n Really? Lieutenant?", "Clarkson crosses the busy room to Eddie's glass-walled \n office. Along the way, he signals Detective Tate to follow \n him.\n\n Page 37.", "Eddie and Bishop 0'Hara are leaving, by the convent's \n front door. As they exit, they hear the CHOIR, singing \n horribly. They both wince at the sound, and then chuckle.", "Christy is fast asleep. There is a RAPPING at the door.\n\n MARY ROBERT (0.S.)\n Sister Mary Clarence!" ], [ "CUT TO:\n\n EXT. THE CONVENT - A FEW SECONDS LATER", "Page 91.\n\n EXT. CONVENT - DAY", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her.", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "EXT. CONVENT - DAY\n\n The sun is just barely rising, as the convent BELL tolls.\n\n INT. CHRISTY'S CELL", "CHRISTY\n We're in a convent!\n\n Christy goes to the door.\n\n CHRISTY\n I've got to go.", "The couple continues to look stunned as the nuns race out \n of the room.\n\n EXT. CONVENT - NIGHT", "to talk about it, but she thinks we \n should get out of the convent and into \n the neighborhood more.\n (putting her hands on", "Eddie comes down the steps, glances back at the convent, \n smiles to himself, then crosses the street to his car.\n\n Page 82.\n\n INT. CHAPEL", "EXT. CONVENT HALLWAY\n\n All the nuns are proceeding, in their simple robes and \n nightshirts, down the hallway.", "INT. CONVENT - DAY", "INT. CONVENT SCHOOLROOM - AN HOUR LATER", "Eddie glances at her, impressed by the influence the \n convent has had.", "CHRISTY\n Right.\n\n MARY ROBERT\n Is this like your old convent?\n\n MARY PATRICK\n Which convent was that, Sister?", "Christy and Mary Robert are walking back to the convent. \n They are both in very good spirits.", "EXT. CONVENT - DAY", "Christy and Mary Robert run up to the side door of the \n convent; they catch their breath.", "A Catholic school bus pulls up to the convent and parks in \n front. Several nuns in choir robes come outside and hurry" ], [ "Vince has had enough. Facing Christy, he raises the gun \n and points it right between Christy's eyes, only inches \n away. The nuns all recoil with horror.", "All the nuns suddenly come together, and see that the \n exits are blocked by Vince and his hoods. Vince spots \n Christy in the center of the group.", "Vince lurches toward Eddie; Larry restrains him. Eddie \n drives off, chuckling.\n\n VINCE\n He's so damn cocky. This is different.", "VINCE\n You ain't been loyal, Ernie. What did \n you tell the cops?\n\n Ernie's eyes open wide with denial as the gun comes closer \n to his temple.", "INT. VINCE'S OFFICE\n\n Vince is standing over Ernie, holding his head up by the \n hair.", "VINCE\n (icy)\n Take care of it.\n\n With guns drawn, Willy and Joey run after Christy.\n\n INT. RECEPTION AREA", "Vince gestures to Joey, who takes out a revolver and \n points it at Ernie's head.", "VINCE\n I can't believe this. Okay, I want both \n you guys to go back there, and both of \n you shoot her at the same time.\n\n JOEY\n Yeah...", "Eddie takes Christy in his arms, and they begin a kiss. \n As they do so, Vince struggles toward Christy, as two cops \n hold him back. He is furious.", "Vince, Joey and Willy each pick a nun and follow her.\n\n Vince catches up to a nun, whom we only see from the rear. \n He grabs her shoulder.", "VINCE\n Freeze! Everybody!\n\n Page 114.\n\n The nuns turn and face the mobsters, shielding Christy.", "Vince leaves the police station with his henchmen, Joey \n and Willy, and LARRY NARREN, an attorney. Vince is \n steaming as they walk through the parking lot.", "VINCE\n Joey?\n\n Joey slams Ernie on the side of the head with the gun.\n\n INT. CORRIDOR", "VINCE\n You were both supposed to put your guns \n to her head and shoot.\n\n WILLY\n We both missed.", "Vince grabs the front of Christy's habit and squeezes it \n tightly around her throat.\n\n VINCE\n She's afraid. Come on, tell the boys \n you're afraid.", "VINCE\n (aiming)\n No -- there!\n\n And a third flash of fabric near the stage.\n\n JOEY\n Over there!", "Christy and Eddie hurry down the steps to the side \n entrance, and she almost trips on her choral robes. Eddie \n opens the door and starts outside, but Christy stops in her \n tracks.", "EDDIE\n Vince has put out a contract on you. A \n hundred grand. You've seen him in \n action.", "VINCE\n Who gives a damn? Waste her.\n\n Joey and Willy look a little unsure as Vince storms out of \n the room.", "VINCE\n Who else, Ernie? Who else was in on it?\n\n ERNIE\n (moaning)\n No one..." ], [ "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "The Choir stands together on the altar with Christy in \n front. Behind them stands a much larger, all-city choir. \n Christy gives the nod to Sister Alma, and the organ vamp \n begins.", "Christy leads the members of the choir down the middle of \n the street. They get lots of attention each step of the \n way. As each nun raps, the other nuns make rhythmic boom-\n box noises.", "BISHOP O'HARA\n The choir, I am told, has elected a new \n director -- Sister Mary Clarence, who \n will lead them in Hymn 127.", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "trying. She is horrified; the choir is the worst-sounding \n group in history. They seem to be singing in several", "The choir seems very demoralized as they finish the hymn. \n Mary Patrick is close to tears.\n\n MARY PATRICK\n We sound terrible We need Mary \n Clarence.", "The choir continues its dreadful rendition of the hymn \n Let Thy Thoughts He Guided. Christy is not singing; she", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "Mary Lazarus raises her hand, and the choir begins \n singing. They sing a traditional hymn, \"Let Thy Thoughts Be", "Mary Lazarus hands Christy a hymnal, and raps her baton. \n The choir begins to sing; Christy doesn't even bother", "For one moment, the nuns all realize they are singing a \n perfect chord. They are elated.\n\n MARY PATRICK\n We did it! We actually sang a chord!", "MOTHER SUPERIOR\n You have, I believe, some minimal \n background in music. Therefore, you are \n to join our choir.\n\n (MORE)", "Everyone falls silent. Mary Lazarus walks across the \n room, eyeballing each member of the choir.", "There are twelve nuns in the room, going over sheet music. \n Mary Lazarus is the group's leader; Mary Patrick and Mary \n Robert are also in the choir. Christy appears at the door, \n grimacing.", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "Christy and the choir stare at the collection plate that \n is filled with money.\n\n CHRISTY\n Jackpot! Two buckets", "July 19, 1991 \n\n Page 1.\n\n SISTER ACT\n\n FADE IN:", "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything." ], [ "INT. MOTHER SUPERIOR'S OFFICE - LATER THAT DAY\n\n Mother Superior is seated behind her desk; she is very \n angry. Christy sits across from her.", "Mary Robert vips, very loudly. All the other nuns turn \n and stare at Mary Robert, scolding her. Christy waggles \n her finger at Mary Robert, scolding her.", "Christy, giggling to herself, resumes hoeing. She sees \n Mother Superior, standing at the end of the furrow. Mother \n Superior looks extremely grim; she has not missed anything.", "sitting with the other nuns. She is clearly about to fall \n asleep. Then the choir hits a particularly horrendous", "SISTER MARY FREDERICK, a member of the choir, steps into \n the laundry room and lets loose with a sudden, piercing", "MOTHER SUPERIOR\n Girls, this is Sister Mary Clarence. \n She'll be minding you until Sister Mary", "With mixed emotions, Christy speaks softly.\n\n CHRISTY\n That soon?\n\n Mother Superior is a very interested eavesdropper.", "CHRISTY\n (trying to behave)\n Well... yes. Yes it is.\n\n LAWANDA\n (goading Christy)\n How come? Sister?", "MOTHER SUPERIOR\n A part of what? Mary Clarence, it is \n one thing to rabble rouse, to sweep into", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "The nuns cheer, and cluster around Christy, chattering \n about the upcoming concert, as Mother Superior strides off.\n\n INT. MOTHER SUPERIOR'S OFFICE - DAY", "There are twelve nuns in the room, going over sheet music. \n Mary Lazarus is the group's leader; Mary Patrick and Mary \n Robert are also in the choir. Christy appears at the door, \n grimacing.", "INT. OFFICE\n\n Mother Superior is livid.", "is Sister Mary Clarence, of St. \n Katherine's Convent. She is a model of \n generosity, virtue and love. You have my", "As the line goes dead, Mother Superior enters. Christy \n takes her dust rag and pretends to polish the receiver. She \n sings as she works.", "Several of the nuns blink. Bishop O'Hara glances at the \n organ with surprise. Mother Superior sits up with a \n stiffened back and a severe expression.", "In the rehearsal room, the choir members are putting on \n their robes. Christy and several nuns are all trying to \n primp in front of one small mirror.", "MOTHER SUPERIOR\n Of course. Mary Clarence, a convent is \n not a totalitarian state. Most major", "MOTHER SUPERIOR\n The rehearsal room!\n\n Mother Superior looks alarmed as Eddie takes the stairs \n two at a time.", "INT. MOTHER SUPERIOR'S OFFICE\n\n Christy is pacing, outraged at her new situation." ], [ "But Mother Superior is not in control at \n this particular moment. BISHOP GEORGE \n O'HARA stands before her with a majestic \n presence and some bad news.", "The choir reacts with an excited buzz: \"The Council of \n Cardinals!\", \"What shall we sing?\", etc.\n\n Mother Superior appears, from the center aisle.", "A Catholic school bus pulls up to the convent and parks in \n front. Several nuns in choir robes come outside and hurry", "bus with confusion and sadness. She sees the other nuns \n rushing back into the convent to look for her.", "The door to the convent swings open. Mother Superior is \n waiting.\n\n MOTHER SUPERIOR\n Yes -- thank you so much.\n\n Page 57", "to talk about it, but she thinks we \n should get out of the convent and into \n the neighborhood more.\n (putting her hands on", "MOTHER SUPERIOR\n That is indeed glorious news, Bishop. We \n will be honored to appear.\n (MORE)\n\n Page 83.", "MOTHER SUPERIOR\n Of course. Mary Clarence, a convent is \n not a totalitarian state. Most major", "The outer wall of the convent. A door swings open, and \n Christy sticks her head out. She looks both ways, and", "CUT TO:\n\n EXT. THE CONVENT - A FEW SECONDS LATER", "Mother Superior has returned, with Mary Patrick. Everyone \n has been so wrapped up in the discussion, that no one has \n noticed their entrance.", "MOTHER SUPERIOR\n Mary Lazarus, find the Bishop and tell \n him the situation. Everyone else --\n follow me.\n\n Mother Superior leads the way out the door.", "BISHOP O'HARA\n I must tell the Cardinal. I.11 send him \n a personal letter, describing your\n efforts, your bold new fight to keep \n your little convent alive.", "With mixed emotions, Christy speaks softly.\n\n CHRISTY\n That soon?\n\n Mother Superior is a very interested eavesdropper.", "As the song continues, we see the chapel is packed to the \n rafters. A tin bucket is passed around as a collection \n plate, and it overflows with money.\n\n EXT. CONVENT", "Lawanda and her friends glance at the convent with \n curiosity as the beautiful MUSIC drifts out to the street. \n A few other heads turn, but with only mild reactions.\n\n INT. CHAPEL", "Mary Robert nods, solemnly. Suddenly, from the streets \n outside the convent, we hear a BLAST OF hot dance MUSIC, \n and the SOUND of laughter and carefree conversation.", "MARY LAZARUS\n Were they Catholics?\n\n Mother Superior suddenly steps forward.", "Page 24.\n\n MOTHER SUPERIOR\n (ruefully)\n It has come to pass.\n\n CHRISTY\n What?", "Page 91.\n\n EXT. CONVENT - DAY" ] ]

[ "Where did the nuns go to save Mary Clarence?", "Why did Vince, Joey and Willy have a hard time shooting Deloris?", "Who shoots Vince in the arm?", "Who tells Vince where Deloris is?", "What did Deloris see Vince do?", "Why did Reverend Mother chastise Deloris?", "Who from the parish enjoyed the rock and roll performance performed by the nuns?", "Who suggested Deloris testify against Vince?", "Where did Deloris go into witness protection?", "Where does Deloris sing?", "Why does Deloris go into witness protection?", "Where does Deloris hide?", "What new identity is Deloris given?", "After Mary Clarence is made choir director, what kind of performance does she hold?", "How do Vince's men find Deloris?", "Why does Vince not shoot Deloris?", "How do the nuns risk their lives?", "After Vince and his men are arrested, what does Reverend Mother agree to do?", "What success does Deloris enjoy after the whole ordeal?", "Who is Sister Mary Clarence?", "How is Deloris' cover at the convent blown?", "Why is Deloris fired as choir director?", "Why is Deloris in danger?", "Who is the good cop trying to help Deloris?", "Where is the convent?", "Why do Vince and his henchman hesitate to shoot Deloris?", "What offense lands Deloris in the choir?", "When is Deloris fussed at for ill behavior and speaking badly?", "What Catholic leader is to come to the convent?" ]

[ [ "Reno.", "reno" ], [ "Because they think she's a nun.", "They were unable to shoot her while she wore a nun's habit." ], [ "Souther.", "Lt. Souther" ], [ "Detective Tate.", "Detective Tate" ], [ "Execute his chauffeur.", "Witnessed Vince have his chauffeur executed." ], [ "Deloris sneaked off to a bar.", "For drinking in a bar" ], [ "Monsignor O'Hara.", "Monsignor O'Hara." ], [ "Souther.", "Lt. Souther" ], [ "A convent.", "San Francisco" ], [ "At the Moonlite Lounge in Reno, Nevada.", "At mass in the church." ], [ "Her boyfriend, a mobster, tries to kill her after she witnesses a murder. ", "So she can testify against her boyfriend" ], [ "St. Katherine's Parish in San Francisco.", "convent" ], [ "Sister Mary Clarence, a nun. ", "Sister Mary Clarence, a nun." ], [ "The choir sings a gospel, rock 'n' roll infused rendition of Hail Holy Queen. ", "Rock-N-Roll infused Gospel" ], [ "Detective Tate tells Vince where she is. ", "Detective Tate finds her whereabouts." ], [ "Souther runs in and shoots him before he can bring himself to kill her. ", "because Souther showed up and shot him in the arm" ], [ "They travel to Reno to rescue Deloris. ", "by going to reno to save mary clarance" ], [ "She agrees to remain at the convent. ", "stay on at the convent" ], [ "She continues to publish albums with her choir. ", "A recording career" ], [ "The identity assumed by Deloris Wilson under the Witness Protection Program.", "Deloris Wilson" ], [ "Detective Tate, a dirty cop of Vince's payroll, tells Vince of Deloris' whereabouts.", "because Detective Tate is on Vince's payroll, and finds out where she is" ], [ "She offended the Reverend Mother when she led a rock-and-roll version of a hymn.", "She changed up the style of music the nuns sang. " ], [ "She witnessed her mobster boyfriend, VInce LaRocca, ordering an execution.", "because she testified against vince" ], [ "Lieutenant Eddie Souther.", "Lieutenant Eddie Souther" ], [ "San Francisco.", "St. Katherine's Parish in San Francisco. " ], [ "They can't bring themselves to shoot a nun.", "they can't bring themselves to shoot her because of her nun's habit" ], [ "The Reverend Mother catches Deloris sneaking into a bar.", "Sneaking into a bar." ], [ "As a Catholic school girl in 1968.", "1968 St Anne's Academy" ], [ "Pope John Paul II", "pope john paul ll" ] ]